SYLLABUS 


A  COURSE  OF  LECTURES 


HISTORY  AND  CRITICISM 


BY  GEORGE  TICKNOR, 
"2" 

Smith  Professor  of  French  and  Spanish  Literature  in  Harvard  University,  and 
Corresponding  Member  of  the  Royal  Spanish  Academy. 


CAMBRIDGE . 
PRINTED  AT  THE  UNIVERSITY  PRESS, 

BY  HLLLIARD  AND  METCALF. 
1823. 


P9 


ADVERTISEMENT. 


THE  Lectures  on  the  History  and  Criticism  of  Spanish  Lite- 
rature, for  which  the  present  Syllabus  has  been  prepared,  are 
about  thirty-four  in  number,  each  an  hour  in  length  ;  and  there- 
fore amount  to  two  octavo  volumes.  They  are  prepared  for 
private  classes  in  Harvard  College,  and  delivered,  three  or  more 
in  each  week,  so  long  as  the  course  continues.  The  subject  to 
which  they  are  devoted  is,  in  many  respects,  new  in  Europe  ; 
and,  in  this  country,  is  quite  untouched.  The  Spaniards  them- 
selves have  no  work  of  history  or  criticism,  embracing  the 
whole  of  their  literature,  or  even  its  best  portions  ;  and  in  Eng- 
land, and  in  Italy,  nothing  has  been  done  to  assist  them.  Bouter- 
wek,  in  his  admirable  History  of  Elegant  Literature  since  the 
conclusion  of  the  thirteenth  century  (Geschichte  der  Poesie  und 
Beredsamkert  seit  dem  Ende  des  dreizehnten  Jahrhunderts,  12. 
8vo.  1801-1819.)  has  given  the  third  volume  to  Spain;  and 
Sismondi,  in  his  eloquent  work  on  the  Literature  of  the  South  of 
Europe,  (De  la  Litterature  du  Midi  de  1'Europe,  4.  8vo.  1813.) 
throughout  which  he  is  largely  indebted  to  Bouterwek,  has  de- 
voted to  the  Spanish  portion  a  part  of  his  two  last  volumes. 
These,  however,  are  the  only  works  on  Spanish  literature,  that 
need  to  be  mentioned ;  and  I  beg  leave  earnestly  to  recommend 
them  to  my  hearers.  But  both  Bouterwek  and  Sismondi  com- 
plain of  the  want  of  access  to  a  sufficient  collection  of  Spanish 
books,  and  their  respective  histories  have  certainly  suffered 


IV 

much  from  it.  This  want,  I  have  not  felt.  Accidental  circum- 
stances have  placed  within  my  control  a  collection  of  works  in 
Spanish  literature  nearly  complete  for  such  purposes.  The  de- 
ficiences,  therefore,  which  will  be  found  in  this  Course  of  Lec- 
tures, and  to  which,  perhaps,  no  one  can  be  more  sensible  than 
myself,  are  not  to  be  imputed  to  the  want  of  materials ;  and 
may,  I  hope,  be  partly  supplied  by  the  labour  of  future  years, 
which  I  shall  cheerfully  bestow  on  a  subject  so  new,  so  impor- 
tant, and  so  interesting. 
MAY  1,  1823. 


EPOCH  FIRST. 


THE  LITERATURE  THAT  EXISTED  IN  SPAIN  BETWEEN  THE 
FIRST  APPEARANCE  OF  THE  PRESENT  WRITTEN  LANGUAGE, 
AND  THE  CLOSE  OF  THE  REIGN  OF  THE  EMPEROR  CHARLES 
V  J  OR  THE  PERIOD  THAT  CONTAINS  THE  ELEMENTS  FROM 
WHICH  THE  BEST  LITERATURE  OF  THE  COUNTRY  WAS 
AFTERWARDS  PRODUCED. 

FROM  ABOUT  1155  TO  ABOUT  1555. 


EPOCH  FIRST. 


FIRST  DIVISION. 

1.  THAT  PORTION   OF  THE  LITERATURE    OF  THE  FIRST 
EPOCH,  WHICH  WAS  ESSENTIALLY  UNTOUCHED  BY  THE  IN- 
FLUENCE OF  ANY  FOREIGN  LITERATURE. 

2.  INTRODUCTORY  REMARKS.     Singularity  of  the  circum- 
stance, that  the  Spanish  Language  and  Literature  first  ap- 
peared  in  times  of  great  violence,  confusion,  and   national 
suffering.      A.  D.   712-14,    occupation  of  Spain  by   the 
Moors,     Mariana,  Hist,  de  Espana,  1780.  fol.  I.  359-63. 
Spanish  character  and  people  preserved  in  the   mountains 
of  Biscay  and  the   Asturias.     Begin  early  to  recover  pos- 
session  of  the  country.     A.  D.   801,  advanced  as  far  as 
Castille,  which   receives  its  name  from  their  castles,  J.  v. 
Miiller  in  Herder's  Lit.  Werke,  III.  xi.     A.  D.  914,  advanc- 
ed as  far  as  the  Guadarrama,  Hallam's  Middle  Ages,  Lon- 
don, 8vo.  II.  4.     A.  D.  1085,  possess  Toledo,  the  ancient 
capital  of  the  monarchy,  Mariana  I.  533.     A.   D.  1118, 
possess  Zaragoza,    Mariana  I.  580.     Moorish  power  thus 
far  rather  concentrated  than  broken.     Dreadful  contest  for 
a  century,  in  the  midst  of  which,  or  between  the  capture  of 
Zaragoza  in  1118  and  the  Battle  of  Navas  de  Tolosa  in 
1212,  when  the  Moorish  power  in  Spain  received  its  first 
serious  shock  (Mariana  I.  672J  we  find  the  earliest  traces  of 
the  Spanish  Language  and  Poetry.     Oldest  document  with 


an  authenticated  date  in  the  Spanish  language,  Jan.  1155. 
Memorias  de  la  Academia  Real  de  Historia.  Tom.  IV.  En- 
sayo  de  Marina,  p.  33. 

3.  The  most  prominent  remains  of  Spanish  Literature  from 
1150  to  1350. 

4.  POEM  A   DEL    CID,   written   about    1150 — MSS.    of  it 
purporting  to  be  a  copy  dated  1207 — earliest  tendency  to 
an  epic  in   modern  Europe — author  unknown — notice  of 
of  the  Cid,  b.  1026,  died  1099.     J.  v.  Muller  in  Herder's 
Lit.  Werke  III,  xviii,  Iviii.     Cronica  del  Cid,  c.  19.    His 
poem,  a  fragment  of  3744  lines.     Abstract  of  it.  Its  char- 
acter.     Singular  versification.      Soutbey's  chronicle   of 
the  Cid,  4to.  1808.     Appendix.     Review  of  it  by  Sir 
W.  Scott.  Quarterly  Rev.  I.  123.     The  whole  poem  with 
notes,  4-c.  in  Sanchez,  Coleccion  de  Poesias  Anteriores 
al  Siglo  xv.  4  Svo.  1779-1790.     Tom.  I.  231-373. 

5.  POEMA  DE  Jose.     Written  before  1200.    King's  Library 
Madrid  MSS.  G.  g.   101.  4to.  49  leaves.     Versification 
like  that  of  the  Cid,  but  the  manuscript  is  in  the  Arabic 
character.     Many  Spaniards  of  that  age  had  more  Moor- 
ish than  Christian  learning,  Aldrete  Origenes  de  la  Leng. 
Castellana  I.  c.  22.     Story  of  the  Poem,  that  of  Joseph 
as  related  in  the  Goran.     Fragment.     Author  unknown. 
Remarkable  character. 

6.  GONZALO  DE  BERCEO  ;  oldest  author  whose  name  has 
come   down  to  us.  b.  about   1198.  fl.   1220-1246;   died 
about   1268.     Lived  at  the  monastery   of  St.  Milan  in 
Calahorra — all   his  poetry    monkish — wrote  Life  of  St. 
Domingo  de  Silos — Life  of  St.  Milan  &c.  but  his  principal 
Poem  was  on  the  Miracles  of  the  Virgin,  3644  lines. 


* 

None  of  the  chivalrous  spirit  of  the  preceding   poetry. 
Sanchez  Poesias  &c.     Tom.  II.  passim. 

7.  ALFONSO  X,  king  of  Castille  and  Leon,  b.  1221 — succeed- 
ed to  the  Throne  1252 — his  knowledge — his  calamities 
— a  letter  he  wrote  in  1280,  Partidas.  Ed.  de  la  Acad.  I. 
xvii.  note, — his  poetry  &z;c. — N.  Antonio,  Bibliotheca  Ve- 
tus  1787-8.     Folio  II.  78,  sqq.      Sanchez  Colleccion  I. 
148-170.     Sarmiento  Obras  Posthumas  1775  4to.  i.  268 
-301.     Mondejar  Vida  de  Alonso.  Folio  1777.  p.  457, 
sqq. 

His  chief  work  LAS  SIETE  PARTIDAS,  Edicion  de  la 
Academia  3.  4to.  1807.  Written  1256-1263 — intended 
as  a  full  code  of  laws  for  the  Monarchy  ;  but  enters  into 
the  reasons  on  which  they  are  founded,  and  therefore 
contains  ethicks,  notices  of  manners,  opinions,  &tc.  Its 
character.  Alfonso  dies  1282.  Cf.  Mariana  I.  760-821. 
Mondejar  Vida  de  Alonso.  folio,  Madrid  1777. 

8.  JUAN  LORENZO  fl.  middle  of  the  xiiu  cent.     A  priest — 
wrote  in  the  verse  of  the  Cid  and  Jose  a  life  of  Alex- 
ander— crude  introduction  of  antiquity — its  character — 
Sanchez,  Coleccion  &tc.  Tom.  III. 

9.  DON  JUAN  MANUEL,  grandson  of  St.  Ferdinand  and 
nephew  of  Alphonso  X.  b.  1280 — in  1320  joint  regent 
of  Spain.      Cronica  del  Rey  Alonso  XI.    1551.  c.  19 
-21 — has  no  place  when  his  regency  ends,  ib.  c.  46. 
Opposes  the  king — is  reconciled  to  him,  ib.  c.  47 — com- 
mands against  the  Moors — gains  the  great  battle  of  Guad- 
alahorra  1327  Mariana  i.  910,-treachery  of  the  king  to  his 
uncle  the  same  year — quits  the  royal  service  in  disgust — 
rebels  against  the  king — subdued  in  1335.  Mariana  II.  9. 
Cronica  de  Alonso  XI.  c.  178 — reconciled  to' the  king — 


6 

great  power  and  splendid  victories,  dies  1347.  Argote  de 
Molina,  Sucesion  de  los  Manueles,  Pref.  al  Conde  Lu- 
canor. 

His  works  numerous — cf.  Don  Quixote  Ed.  de  Pelli- 
cer  II.  284  n. — Nic.  Antonio  Bib.  Vet.  H.  166.  Mondejar 
Vida  de  Alonso,  p.  464.  Sanchez  Coleccion  IV.  xi. 
Cancionero  General  1573,  contains  his  poetry  at  folios 
175,  207,  227,  267. 

The  only  work  remaining  that  is  of  much  consequence 
is  EL  CONDE  LUCANOR,  Sevilla  1575.  4to.  Forty  nine 
moral  tales — resemblance  to  the  Arabian  nights — their 
fable  and  character.  Mondejar  Vida  etc.  462.  The  first 
attempt  to  write  Spanish  prose  with  ease  and  elegance. 

10.  JUAN  Ruiz,  Arcipreste  de  Hita — writes  monkish  poetry 
like  that  of  Berceo  fl.  1343 — died  about  1351 — his  meas- 
ures various — we  have  6  or  7000   verses   still  left — their 
character — Sanchez  Coleccion,  Tom.  IV. 

11.  General  Remarks  on  this  literature  from  1150  to  1350 
—chiefly  belongs  to  the  clergy  and  the  court. 

.  12.  But  there  were,  besides  this,  more  popular  forms  of 
literature  in  the  Peninsula,  which  began  during  these  two 
centuries,  and  extended  below  them,  viz.  Ballads,  Chron- 
icles, Romances  of  Chivalry,  and  the  Drama. 

13.  I.  BALLADS — not  originally  committed  to  writing — and 
their  authors  not  known — hence  the  difficulty  of  tracing 
their  history. 

14.  Origin — Moorish — Retrospective,  Rev.  IV.  31-35.  Dep- 

ping's  Sammlung  &c.  1817.  12mo.  p.  xlv. — Many  of 
the  Spanish  Ballads  translations  from  Moorish  Ballads, 
Hita,  Guerras  de  Granada  12rao.  '1757.  I.  87,  sqq. 


Spanish  ballads  probably  as  old  as  any  Spanish  poetry 
— Atgote  de  Molina  Discurso  &c.  Conde  Lucanor,  fol. 
93.  a. 

Ballad  of  Alfonso  the  Wise,  circa  1280.  Cantos  de 
Fuentes.  12mo.  1587.  Epistola. 

Ballad  of  Don  Juan  Manuel,  Cancionero  General  1573 
8vo.  fol.  207  b.  written  before  1347,  and  probably 
about  1300. 

Ballad  of  Alfonso  XI,  on  the  battle  of  Salado,  which 
happened  1340,  Mariana  II.  22.  Sarmiento  Obras 
p.  305.  Written  between  1340  and  1350.  San- 
chez Colleccion  i.  176. 

Ballad  of  Rabbi  Don  Santob,  King's  Library,  Madrid, 
MSS.  Folios  B.  b.  82.  ff.  61-81  written  circa  1350, 
Castro  Bibliotheca  Rabbinica  Folio  1781-86.  I. 
198-202.  Sanchez  Collec.  I.  179—184.  IV  xii. 

Ballad  of  Lope  de  Estuniga,  who  died  1417,  Guzman, 
Generaciones  y  Semblanzas,  4to  1775.  p.  223-5. 
Cancionero  General,  fol.  1535.  f.  42.  a. 

Ballads  of  Diego  de  San  Pedro,  and  Sanchez  de  Bad- 
ajoz  before  1457.  Nic.  Ant.  I.  Bib.  Vet.  248-9 
Cancionero  Gen.  1535.  fol.  109.  Cancionero  Gen. 
1573.  fol.  210. 

Ballads  of  the  Wars  of  Granada,  Hita  I.  passim. 

Ballads  from  the  capture  of  Granada  1492  to  our  times, 
in  a  regular  series  determined  by  their  authors, 
Enzina,  Naharro,  Montemayor,  Padilla,  &c. 

The  vast  mass  of  Spanish  ballads,  however,  consists  of 
ANONYMOUS  BALLADS,  and  was  gradually  taken  from 
the  memories  of  the  lower  orders.  They  first  appear 


as  a  department  in  the  Cancioneros  Generates  of 
Castillo,  successively  printed  and  enlarged  from  1511 
to  1573  in  repeated  editions.  The  first  separate 
collection  of  Ballads  was  printed  1551.  Nic.  Anto- 
nio, Bib.  Nov.  II.  10.  Ballad  Book  in  nine  parts, 
containing  many  hundred,  printed  1594-1597,  in 
five  small  volumes.  The  Romancero  General  ix 
partes  1604  &c.  1.  4to.  Idem.  xiii.  partes.  1614,  1. 
4to.  In  all  these,  the  ballads  are  anonymous,  thrown 
together  without  order,  and  amount  to  above  a  thous- 
and. From  these  were  selected  Romancero  del  Cid, 
1612,  Romancero  de  los  Doce  Pares  1608,  &c. 
&c.  and  all  the  little  collections  of  Ballads  that  have 
always  been  so  common  in  Spain,  and  that  still  are 
read  and  enjoyed  by  the  lower  classes.  This  mass 
of  Spanish  ballads  may  be  divided  into 

16.        A.     Historical  Ballads,  which  is  the  largest  division. 

a.  Ballads  on  the   Cid,  (Romancero  del  Cid.    1. 
12mo.  Pamplona  1706,  contains  102.     Madrid, 
1.  12mo.  18 18,)  form  together  his  entire  History. 
cf.  Herder's  Litt.  Werke,  HI.  Band. 

b.  Ballads  on  Bernardo  del  Carpio — cf.  Coronica 
General  de  Espana  fol.  1541.  225,  sqq.     To 
be  found  in  the  Romanceros  Generales. 

c.  Ballads  on  the  Infantes  de  Lara.     cf.  Coronica 
General  de  Espana  1541  fol.  261  sqq — Dep- 
ping's  Sammlung  41,  sqq. 

d.  Ballads   on   the    Wars   of    Granada.      Hita, 
Guerras  civiles  passim.   Great  number  of  them. 
Their   effect  very   remarkable   on   the   fallen 
Moors. 


e.  Ballads  drawn — from  Scripture  stories,  Cantos 
cte  Fuentes,  1-90 — from  the  fabulous  History  of 
Greece,  Romancero  General,  1604,  ff.  309,  520 
— from  the  account  of  the  Paladins,  Romance- 
ro de  los  Doce  Pares,  1608 — from  the  accounts 
of  Roderick  the  Goth,  Silva  de  Romances,  Vi- 
ena  1815,  p.  286-298,  &c.  &c. 

^17.  B.  Moorish  Ballads,  or  ballads  founded  on  Moor- 
ish manners.  Hita,  Guerras  Civiles  de  Grana- 
da, passim.  Fernandez  Coleccion  de  Poesias 
Castellanas,  xvi.  94-198. 

^18.  C.  Miscellaneous  Ballads — strong  expressions  of 
the  popular  character  and  feelings.  Romancero 
General  1604,  passim. 

v}  19.  Beauty  of  the  Spanish  Ballads,  in  general — a  part  of  the 
national  character — and  filled  with  the  poetical  spirit  of 
the  times  and  country  that  produced  them. 

^  20.  II.  CHRONICLES — the  amusement  of  a  class  of  society 
above  that,  which  produced  the  ballads  ;  they  succeeded 
such  poetical  legends  and  narratives  as  those  of  the  Cid, 
Berceo,  &c. 

1.  Chronica   del    Famoso   Cavallero,   Cid   Ruy    Diez 
Campeador,  Burgos  1593.  1  fol. — Southey's  Chronicle 
of  the  Cid,  Lond.  1808.  1.  4to.     Written  about   the 
middle  of  the  xiiith  century.     Its  history  and  charac- 
ter— author  unknown. 

2.  Cronica  de  Espana  1541,  1  fol.  black  letter.     Written 
by   Alfonso  the  wise,  who  died  1284,  as  far  as  to  the 
death  of  his  father,  in  the  fourth  part,  Mondejar  Vida 

2 


10 

tie  AJonso,  402-470.  Castro  Bib.  Rabbinica  II.  656, 
sqq.  Its  great  value  and  beauty.  Extends  from  the 
earliest  times  to  1252. 

3.  Cronica  de  Alonso  el  Sabio,  Sancho  el  bravo,  y  Fer- 
nando IV. — author  uncertain,  but  written  about  1320. 
Mondejar   570-574.     Extends    from    1252   to    1312. 
II.  Antonio,  Bibliotheca  Vetus.  173,  note  1. 

4.  Cronica  del  Rey  D.  Alonso  el  XI,  Valladolid  1541. 
folio,  black  letter.     Written  1376.     Grave  and  digni- 
fied character.     Extends  from  1312  to  1350.     Written 

by  the  chancellor  of  the  kingdom,  Juan  Nunez  de  Vil- 
laizan. 

5.  Cronica  de  Casnlla,  Edicion  de  la  Academia  2.  4to. 
1779-1780.     Extends  from  1350  to  1404.     Its  author 
Pedro  Lopez  de  Ayala,  minister  of  State — b.  133,2. — 
his  marked  character — Sanchez,  Coleccion,  &c.  i.  106, 
sqq.       Guzman,    Generaciones   y    Semblanzas  c.   7. 
Chronica  de  Pedro,  p.  xxvi.  Sarmiento   323. — taken 
prisoner  and  carried  to  England   1367.     Mariana  II. 
107. — his  great  power  in  the  state — dies  1407.     His 
knowledge   of  foreign  literature — translates  Livy  &,c. 
Sanchez  I.  107.     Character  of  his  chronicle  approach- 
es somewhat  to  that  of  regular  history. 

6.  Cronica  de  D.  Juan  el   Segundo  Sic.  Logrono  1517. 
1    fol.    black   letter.      Extends  from   1404  to   1450. 
Written  by  different  persons,  Alvar  Garcia  de  Sta. 
Maria,  Perez  de  Guzman,  and  another  person,  who  is 
unknown — composed  1460.     Grave,  natural,  castillian 
style.     Last  of  the  chronicles,  strictly  so  called. 

7.  Romantic   chronicle   of  Roderick,   which    does   not 
pretend  to  adhere  to  the  truth.     Cronica  del  Rey  Don 


11 

Rodrigo,  Toledo   1549.  1.  fol.  black  letter.     Written 
about  1440.     Its  singular  character. 

8.  Chronicles  of  particular  events  or  persons. 
Historia  del  Gran  Tamorlan,  Ed.  de  la  Acad.  1782. 
1.  4to.  Embassy  of  Ruy  Gonzalez  de  Clavijo  1403-4. 

Libro  del  Passo  Honroso,  Ed.  de  la  Acad.  1783.  1  4to 
A  famous  Tournament  in  1434.  Cron.  de  Juan  II. 
ff.  133-4. 

Seguro  de  Tordesillas,  Life  of  Count  Haro.  1446.  Ed. 
de  la  Acad.  1784.  1.  4to. 

Cronica  de  Don  Pedro  Nino,  by  Gutierre  Diez  de 
Gamez,  1450.  Ed.  de  la  Acad.  1782.  1.  4to. 

Cronica  de  D.  Alvaro  de  Luna,  about  1460.  Ed.  de 
la  Acad.  1784,  1.  4to. 

Great  richness  and  beauty  of  the  Spanish  chronicles,  as  a 
body.  Sarmiento  p.  325.  Santander  Catalogue  &c. 
III.  161. 

21.  III.  ROMANCES    OF    CHIVALRY, — of  French   origin — 
Oldest  and  best  Spanish  Romance  translated  from  the 

Portuguese — Amadis  de  Gaula,  in  four  books — first 
edition  before  1490.  D.  Quixote  Ed.  de  Pellicer,  I. 
p.  1.  Its  author,  Vasco  de  Lobeira,  wrote  it  about 
1383.  Amadis  of  Gaul,  by  R.  Southey  1803. 1.  Preface, 
Barbosa  Bibliotheca  Lusit.  III.  725.  Its  character. 

22.  The  success  of  Amadis   brought  out  Esplandian   his 

son  before  1510 — by  Montalro,  (D.  Quixote  Ed.  Pe- 
licer  I.  51,  note)  which  was  called  the  fifth  book  of 
Amadis — this  produced  in  1510,  book  sixth  or  Flo- 
risando,  grandson  to  Amadis  (Nic.  Antonio  II.  Bib. 
Nov.  395)  then  1525,  Cronica  de  Lisuarte  de  Gre- 


12 

cia,  son  of  Esplandian,  as  the  vii  and  viii  books  (Dun- 
lop's  Hist,  of  Fiction  II.  24) — in  1535  Amadis  de 
Grecia,  son  of  Lisuarte  as  book  ix,  (Dunlop  II.  27.) 
and  so  on,  with  different  heroes,  to  book  xiii.  (Dunlop 
II.  34.  38.  45.)  but  all  dull  and  full  of  absurdities  and 
ignorance  of  chronology  and  manners. 

§  23.  Other  Romances  of  Chivalry — Don  Belianis  de  Gre- 
cia (Don  Quixote  de  Avellaneda,  1805.  2.  12mo.  pas- 
sim) Don  Olivante  de  Laura,  Felixmarte  de  Hyrca- 
nia,  and  Tirante  el  Blanco. 

{^  24.  Romances  on  Palmerin — Palmerin  deOliva — Primaleon 
— Platir — and  Palmerin  de  Inglaterra. 

^  25.   General  character  of  Spanish  Romances  of  Chivalry. 

^  26.  IV.  THEATRE — originally  came  to  Spain  from  France, 
where  it  arose  from  the  dramatic  exhibitions  of  their 
Pilgrims  and  Crusaders,  who  returned  from  Palestine. 
Small  number  of  Spaniards,  who  went  on  the  crusades 
did  not  induce  such  exhibitions  in  Spain,  Heeren's 
Kleine  Schriften,  III.  44,  sqq.  Memorias  de  le  Acad- 
cmia  real  V.  35,  sqq.  Their  domestic  and  national  en- 
tertainments, too,  were  for  a  long  time  a  substitute  for 
theatrical  exhibitions.  Romancero  Gen.  1604.  24  b. 
Jovellanos  memorias  sobre  las  diversiones  publicas,  8vo. 
1812.  p.  15,  sqq. 

vj  27.  FIRST  TRACE  OF  SCENIC  EXHIBITIONS  in  Spain  1256 
-1263.  Partidas  de  Alonso,  Ed.  de  la  Acad.  I.  276-7. 
III.  556.  but  these  were  pantomimic. 

o  28.  FIRST  WRITTEN  DIALOGUE  of  which  we  hear,  is  the 
Comedieta  de  Ponza  represented  between  1435  and 
1454,  the  work  of  the  Marquis  de  Santillana,  San- 


13 

chez  Coleccion  I.  xxxix.  Cronica  de  D.  Juan  II. 
cap.  261.  King's  Library,  Madrid  MSS.  fol.  M.  No. 
59.  Garcilasso  de  la  Vega,  Edicion  de  Herrera,  p.  541. 

29.  MINGO  REVULGO,  written  about  1472.     Coplas  de  Min- 

go  Revulgo  glosadas  por  Hernando  del  Pulgar  1. 
12mo.  1588.  Velazquez  Origines  de  la  Poesia  Espaii- 
ola,  1754,  4to.  p.  52.  Its  character  as  a  satirical  ec- 
logue. Author  unknown — Coplas  de  Manrique  1636, 
p.  147, — I.  Nic.  Antonio  Bib.  Nov.  387.  Mariana  II. 
475.  Sarraiento  ^  872. 

30.  CALISTO  Y  MELIBEA,  Tragicomedia,   (generally  called 

LA  CELESTINA)  Alcala,  12mo.  1586.  Written  between 
1470  and  1480.  The  first  act  probably  by  Rodrigo 
Cota.  D.  Quixote  Edicion  de  Pellicer  I.  ccxxxix. 
Velazquez,  Diezen's  Ausgabe  p.  306.  The  remain- 
der written  by  Fernando  de  Roxas.  cf.  Prologo.  It  is, 
in  fact,  a  kind  of  Romance  in  dialogue,  in  prose,  and  in 
twenty  one  acts  or  parts.  First  edit.  1§01.  Velaz- 
quez, Dieze,  p.  306.  Its  great  merit — translated  into 
French  and  Italian,  and  reprinted  many  times,  Lam- 
pillas  Apologia  de  la  Literalura  Espanola,  1789,  8vo. 
VI.  53-56.  Goujet,  Bibliotheque  Franchise,  VIII. 
163,  sqq.  Cota's  singular  dialogue  between  love  and  an 
old  man,  Coplas  de  Manrique  1588.  ff.  208-222. 

31.  JUAN  DE   LA  ENZINA  b.   1468.     Chief  musician  in  the 

chapel  of  Pope  Leo  X. — 1519  made  a  pilgrimage  to 
Jerusalem — 1521  published  a  poetical  account  of  it — 
returned  to  Spain — died  at  Salamanca  1534.  Cf.  his 
epitaph,  and  II.  Nic.  Ant.  Bib.  Nov.  684.  His  eclogues, 
partly  in  the  manner  of  the  ancient  mysteries,  and 
partly  in  that  of  Mingo  Revulgo,  were  all  represented 


14 

as  dramas.  Cancionero  de  las  obras  de  Juan  de  la 
Encina,  Salamanca  1496,  black  letter.  First  edition, 
Mendez,  Typografia  Espanola  1786  p.  247.  His 
Farce  of  Placiday  Victorian,  which  was  much  esteem- 
ed, is  lost.  Dialogo  de  las  Lenguas,  Mayans  y  Siscar, 
Origenes  &c.  1737.  II.  149.  By  these  pieces,  Euzina 
made  almost  an  epoch  in  the  early  Spanish  theatre, 
about  1492.  Rojas,  Viage  Entretenido  12mo.  1614. 
f.  46. 

32.  BARTOLOMC  TORRES  DE  NAHARRO — born  in  Estrema- 

dura — lived  at  Rome — exiled — fled  to  Naples — died 
soon  after  1500.  Nic.  Antonio,  I.  Bib.  Nov.  202 
Velazquez,  Dieze  p.  321.  His  PROPALADIA  1.  4to.  Se- 
villa  1533,  (first  printed  1517,)  contains  eight  dramat- 
ic pieces  longer  than  had  yet  been  prepared  for  the 
stage — the  first  called  Comedias — all  in  verse— repre- 
sented at  Rome  and  Naples — great  rudeness — yet  they 
contain  some  of  the  marked  features  of  the  future 
Spanish  drama. 

33.  LITTLE    PROGRESS    OF    THE    SPANISH   DRAMA  up   to 
about    1530 — confined   to   the    higher   classes    in    its 
better  forms — and  little  noticed. 

34.  LOPE  DE  RUEDA,  the  first  who  wrote   for  the  lower 

classes  with  spirit  and  success — born  at  Seville,  by 
trade  a  gold  beater — turns  play-actor — Cervantes, 
when  a  boy,  admired  him — (Comedias  de  Cervantes, 
Prologo  4to.  1749.)  died  about  1567 — buried  with 
great  honours.  Wrote  four  comedias,  three  coloquios, 
and  ten  pasos,  which  are  printed.  Comedias  y  Colo- 
quios, Sevilla,  1.  12mo.  1576,  El  Deleytoso,  Valencia, 


15 

V  4to.  1577. — All  different  kinds  of  popular  farces. 
They  have  much  merit. 

35.  ALONSO  DE  LA  VEGA,  JUAN  DE  TIMONEDA*  and  JUAN  DE 

LACUEVA,  imitated  him  successfully  between  1566  and 
1581.  Origen  y  Progeso  de  la  Comedia  Sec.  por  C. 
Pellicer,  12mo.  1804.  I.  111.  II.  18,  sqq. 

36.  ANCIENT  THEATRE  IMITATED  and  translated.     Amphy- 

trion  of  Plautus  by  nilalobos  about  1500,  Proble- 
mas  &c.  de  Villalobos  1544.  1  fol.  black  letter.  The 
same  play  and  the  Electra  of  Sophocles,  and  the  Hecu- 
ba of  Euripides  by  Perez  de  Oliva,  about  1530, 
Obras  1787.  2.  12mo.  In  1577  Geronimo  Bermudez 
*  rote  two  imitations  of  the  ancient  tragedies  (Sedano 
i  arnaso  Espanol  Tom.  VI.)  and  Lupercio  Leonardo 
Jlrgensola  wrote  three  more  in  1585  (ib.  Tom.  VI.) 
which  were,  for  a  time,  much  admired  ;  (Don  Quix- 
ote Parte  I.  c.  48.)  but  the  imitations  of  the  ancient 
theatre  produced  no  lasting  effect. 

37.  From  this   account  of  the   theatre  beginning  with   its 

earliest  appearance,  three  circumstances  are  apparent; 

1.  Little  effort  had  been  made. 

2.  The  apparatus  for  theatrical  representation  was 
unequal   to   the  exhibition  of  tolerable  dramas. 

1492.  Enzina's  Eclogues. 

1550  circa,  Lope  de  Rueda — no  apparatus  at 
all. 

1568.  Plays  represented  at  Madrid  in  an  open 
court,  without  scenery,  decorations  or  dresses, 
(Pellicer  Origen  &c.  1804.  I.  50.  53.  62)  and 
only  by  strolling  players.  But  they  produc- 
ed never  above  ten  dollar?. 


10 

1579-83,  improved,  but  still  ridiculously  mean- 
Cervantes,  Prologo  a  las  comedias. 
1586,  not  better  than  mountebank  stages  are 

now. 
3.  The  pieces  had  no  common  character  whereon 

to  found  a  national  drama. 

All,  however,  in  Spain,  showed  at  this  time,  a  tendency 
to  the  establishment  of  a  national  theatre. 

38.  CONCLUDING  REMARKS  on  the  original  Spanish  litera- 
ture, which  is  untouched  by  any  foreign  influence,  down  to 
the  end  of  the  reign  of  Charles  V. 


SECOND  DIVISION. 

39.  TWO  SCHOOLS  OF  LITERATURE  MARKED    WITH  FOREIGN 
INFLUENCES   EXISTED    DURING  THIS   EPOCH,  VIZ.  THE  PRO- 
VENCAL, AND    THE  ITALIAN. 

I.    PROVEN9AL. 

40.  INTRODUCTORY  REMARKS.  Provence  separate,  a  govern- 
ment from  879 — (art  de  Verifier  les  dates  X.)  its  peaceful 
condition  for  two  centuries — 1113  crown  of  Provence 
passes  to  Barcelona  (ib.  p.  399) — 1137  Barcelona  united 
to  Arragon  (Eichhorn's  Cultur  Geschichte  I.  120) — 1220 
to  1238  adds  Majorca,  Minorca,  and  Valencia — and  thus 
the  Provencal  refinement  has  an  opportunity  to  spread 
through  all  these  countries. 


o 


41.  PROVENCAL  LANGUAGE  in  Catalonia  modified  by  the 
different  habits  of  the  people.  Du  Cange,  Gloss.  Mediae 
et  Inf.  Latinitatis,  Pracf.  ^  34,  35,  36. 


17 

42.  ALFONSO  II.  1162-1196,  son  of  the  first  prince,  who 
wore  both  the  crown  of  Prbvenqe  and  that  of  Barcelona, 
is  a  Provencal  poet.     Latassa,  Bib.  antigua  de  Aragon 
I.   175-179.     Crescimbeni,  II.  186.       His  capital  was 
Zaragoza. 

43.  PETER  III.  1196-1213,  his  son, — was  a  poet — encour- 
aged the  Troubadours — Latassa  ib.  I.  185-189.     Qua- 
drio  Storia  4to.  1743.  II.  114.     Many  fled  to  his  protec- 
tion from  the  war  of  the  Albigenses,  Llorente  Histoire  de 
PInquisition,  1818.  8vo.  I.  43  sqq.     Peter  died  fighting 
for  them,  Sanchez,  Coleccion  &c.  I.  79. 

44.  NAT  DE  MOROS  and  MATTHIEU  DE  Q.UKRCI  1213-1276 
James  I. — Millot  Hist,  des  Troubadours,  12mo.  II.  194. 
262.  HI.  316.     Sanchez  coleccion  I.  79. 

45.  MOSSEN  JORDI  DE  SAN  joRDi  1250 — Ximeno,  Escrito- 
res  de  Valencia,   folio   1747-1749.  I.  1-3.      Retrospec- 
tive Review,  IV.  46-7. 

46.  MOSSEN  FEBRER — THE  UNKNOWN  AUTHOR  OF  THE  BRE- 
VIAR  D'AMOR — PETER  III.  1276-1285  AND  OTHERS.  Nic. 
Antonio  II.  Bib.  Vet.  102.     Latassa  I.  242-247.     Nic. 
Ant.  ib.  105  note.  141  note.  145  note.  153  note. 

47.  SOBREGAYA  COMPANHIA  DELS  SEPT  TROBADORS  DE  TO- 

LOSA  founded  1323-4.  (Sismondi  Litt.du  Midi.  8vo.  1813. 
I.  227  sqq.)  1355  establish  statutes  &c.  (Sanchez  Col- 
eccion I.  7.) — Their  neighbourhood  to  Aragon  and  Cat- 
alonia— effects. 

48.  INFANTE  DON  PEDRO,  who  died  1380,  a  poet,  and  fa- 
vourer of  poetry,  II.  Latassa  9, 

3 


18 

49.  JUAN  MART-OREL  before  1383 — Romance  of  Tirante  lo 
Branch — Xiraeno,  I.  12.     Mendez,  Typog.  p.  72.  Don 
Quixote,  Ed.  de  Pellicer  I.  62. 

50.  RAYMON   MONTANER — chronicle — II,  N.  Antonio   Vet. 
144.  Velazquez,  Dieze  p.  53.  n.  i. 

>  51.  JOHN  I.  1387. — Refinement — II.  Mariana  182,  sqq — 
1388,  Embassy  to  France — founds  the  CONSISTORY  OF 
PROVENCAL  POETS  AT  BARCELONA  1390,  increased  1395 
—Marquis  de  Villena,  1412,  raises  it  to  its  highest 
splendour — gradually  disappears  about  1480.  Mayans 
Origenes  &c.  1737  II.  323-327. 

52.  GREATEST  SUCCESS  OF  PROVENCAL  POETRY  IN  SPAIN, 
about  1400.     Zurita's  account  of  schools  for  it,  $-c.  San- 
chez Coleccion  I.  9.  10. 

53.  ENRIQUE  MARQUES  DE  VILLENA  its  great  patron-b.  1384. 
— passion  for  letters — rank — master  of  the  order  of  Cala- 
trava — 1414   displaced — died    1434.       Generaciones   y 
Semblanzas  c.  xxviii.  p.  255.     Velazquez,  Dieze  153- 
155.     Wrote  the   Gay  a  Sciencia,  Mayans,  Origenes,  II. 
320 — translated   Dante    1427-8,     Virgil,    Cicero,     &c. 
Velazquez  147-149. — Trabajos  de  Hercules,  Mendez  p. 
266 — suspected  of  magick,  Feyjoo,  Teatro  Critico  Tom., 
vi.  and  his  books  burnt,  Cibdareal,  carta  66.  p.  111. 

^  54.  MACIAS  EL  ENAMORADO — Esquire  to  Villena — his  trag- 
ical fate — his  poetry,  Castro,  Bib.  Rabbinica  I.  312. 
Cancionero  de  Estuniga,  King's  Library,  MSS.  Fol.  M. 
48.  folio  82.  Sanchez,  Coleccion  I.  138  sqq.  Cancio- 
nero General  1535.  fol.  67.  b.  161.  b.  Juan  de  Mena, 
Obras  1566.  99.  b.  Gongora,  Obras  1654.  113.  b. 


19 

55.  AUSIAS  MARCH,  Lord  of  Beniarjo  fl.  1416-1458,  died 
1462-1467.     Diana  Enamorada  de  Polo,  1802.  12mo. 
486.   293.      Best   of  the   Catalonian-Proven<jal    poets 
Les    Obres  del    f^aleros   Cavalier  y  •elegantissim  Poeta, 
Jlusias  March,  1.  12mo.   1560.     His  tenderness — trans- 
lations into  Latin,  Italian  and  Castillian,  Velazquez  Dieze, 
54.     Diana,  ib.  290.  303. 

56.  JAUMK  note — b.  1427.     Lo  Libre  de  les  Dones  fyc.  por 
Mossen  Jaume  Roig,  1.  4to.  1735,  p.  187.  col.  a. — con- 
tended for  a  poetical  prize  in  Barcelona  1474.  ('Diana 
Enam.   1802.  p.  302.;— died    1478,  (ib.  p.  300.;      His 
satire  on  women — its  fine  measure,  (Mayans,   Origenes 
1737.  I.  57.J  written  in   1460,  cf.  p.  187.     Best  of  the 
Provencal  satirists  in  Spain. 

57.  DECLINE  OF  PROVENCAL  LITERATURE  IN  SPAIN — causes 
of  it — overcome  by  the  influences  of  the  northern  litera- 
ture— Villena  who  died  1434  wrote  both  in  castillian  and 
proven^al  (Velazquez,  147-8.  Mendez,  266.;  In  1474  poet- 
ical meeting  and  contest  at  Barcelona;  and  four  Castillian 
poems  offered  (Mendez  56-57.;  Bernardo  Fenollar,  Sec- 
retary of  this  meeting,  wrote  in  both  dialects.  (Diana  E- 
nam.  1802.  p.  317.  Cancionero  Gen.  1573.  fol.  240.  251. 
307.;     Narcis  Vinyoles,  fl.   1492,  wrote  in  both  (Dia- 
na Enam.  1802.  p.  304.     Cancion.  Gen.  1573.  fol.  241. 
251.  316-18.;    Crespi,  fl,    1500  wrote  in  both,  (Diana 
En.    1802.  p.  306.  Cancion.  Gen.    1573.   fol.  238.  248. 
300.  301.;     Fernandez   de  Heredia,   died   1549,  wrote 
almost   entirely  in  Castillian — and  others  from  1500  to 
1520,  (Ximeno  I.  102.     Diana  En.  1802.  p.  326.     Can- 
cion. Gen.  1573.  182.  185.  222.  225.  228.  230.  305-7.; 
Crowns  of  Aragon  and  Castille  united  1479  made  the 


20 

Castillian  the  court  language,  and  from  that  tirnc  the  Pro- 
venc,al  gradually  disappeared.  Still  there  is  a  popular 
Catalonian  literature.  Fischer's  Travels,  Lond.  1802. 
8vo.  p.  371.  La  Bordc  Voyage  d'Espagne  1809.  8vo.  I. 
136.  Melancholy  feeling  at  the  premature  decay  of  such 
a  language  and  literature. 


II.    ITALIAN  SCHOOL. 

§  58.  A  SCHOOL  CHIEFLY  FORMED  OF  CONCEITED  POETRY,  IMITAT- 
ED, GENERALLT,  FROM  THE  WORST  POETRY  OK  THE  AGE  FOL- 
LOWING THAT  OF  PETRARCA  AND  BOCCACCIO. 

^  59.  INTRODUCTORY  REMARKS.  Early  intercourse  between 
Spain  and  Italy  and  its  causes — Sicilian  Family  on  the 
Throne  of  Aragon  1387,  (Art.  de  Verifier.  8vo.  VI. 
534-5.J  Naples  united  to  Aragon  1420-1435.  ("Mariana  11. 
285  sqq.J  State  of  Italian  literature.  Appearance  of  Italian 
influences  in  Spanish  literature.  Ayala  translates  a  treatise 
of  Boccaccio  before  1407  (Generaciones  y  Semblanzas  c. 
7.  p.  223.  Sanchez,  Coleccion  I.  101.)  Villena  trans- 
lates Dante  1427-8  (cf.  §  53.J  Santillana,  a  learned  Italian 
scholar,  who  died  1458,  (Cancion.  Gen.  1573.  fol.  76.  b.J 
has  great  influence. 

^  60.  JOHN  II.  of  Castille,  his  reign  1407-1454  important — 
his  weak  character,  Mariana  II.  236-407.  Generacio- 
nes  y  Semblanzas  c.  33.  p.  270 — amuses  himself  with 
poetry  and  encourages  letters.  II.  Mariana  283.  359. 
John  Alfonso  de  Baena,  his  secretary,  makes  a  collec- 
tion of  poetry  for  him  between  1449  and  1454,  which 
is  still  extant — Castro,  Bib.  Rabbinica  I.  265-346. — 
John  de  Mena  was  his  chronicler  fCenton  Epistolario,  Ep. 


21 

47.  49  kc.)  King  corrects  Mena's  verses,-fib.  Ep.  20.  56. 
76.;  was  amiable,  fib.  Ep.  105.)  Fashionable  among 
the  nobles  of  his  court  to  write  verses.  His  own,  Obras 
de  Mena,  12mo.  1805.  p.  195. 

61.  INCREASED    INFLUENCE    OF    ITALY — many    Spaniards 
study    there — some    become   professors    in   the   Italian 
Universities— N.  Antonio  Bib.  Vet.  II.   169-70.      Ti- 
raboschi,   Storia  della  Lett.     Ital.  4to.  1782.  V.  54.  58. 

62.  LOPE     DE     MENDOZA,    MARQ.UES     DE     SANTILLANA,     fil'St 

direct  imitator  of  Italian  poetry,  b.  1398.  (Sanchez 
Coleccion  I.  i-xlvii.j  connected  with  Villena  (Cancion. 
Gen.  1573.  fol.  34J  his  bold,  martial  character  (Clares 
Varones,  Titulo  4)  and  career — died  1458 — his  great 
reputation  during  his  life.  (Obras  de  Mena  1566.  p.  260.; 
Union  of  Literature  with  this  busy  life  (Proverbios  1532. 
12mo.  fol.  150.  bj  his  studies  (Glares  Varones  p.  31- 
32.J  His  works,  MSS.  King's  Library  Madrid  M.  59. 
folio.  His  Serranas  1428,  (in  Sanchez  Colec.  I.  vi.  xliii.; 
genuinely  Spanish  and  beautiful.  His  proverbs  for 
Prince  Henry  (cf.  Proverbios  fol.  151-2.J  Dialogue 
between  Bias  and  Fortune  1448,  (Sanchez  Coleccion  I. 
xlij  Religious  pieces  (Can.  Gen,  1573.  fol.  24.  27  etc.) 
His  remarkable  Letter  on  Spanish  poetry  written  between 
1454  and  1458  (Sanchez  Coleccion  I,  xlviii-lxii.J 
His  sonnets,  the  oldest  in  the  language,  (ib.  xx.  xxi.  xl. 
Garcilasso,  Ed.  de  Herrera  p.  75.  Argote  de  Molina  in 
the  Conde  Lucanor  97.  a.j  were  some  of  them  written, 
at  Seville  1455. — Poem  on  the  death  of  Villena  (Can. 
Gen.  1573.  fol.  34-37.;  Poem  in  honour  of  Jordi,  the- 
Valencian  poet  (Faber,  Floresta  1820.  8vo.  No.  87.  p, 
135;  in  which  ho  imitates  Dante,  Purgatorio,  xxviii. 


22 

xxi\.  Death  of  Alvaro  de  Luna  155J,  (Mariana  II.  400. 
403,)  and  Santillana's  Poem  on  it  (Cancionero  General 
1573.  fol.  37,  sqq.;  remarkable. — Other  works  (Mayans 
Origenes  II.  179-210.  Cantos  de  Fuentes  fol.  234. 
Castro  Bib.  Rab.  I.  345.;  His  character  as  a  poet. 

G3.  JUAN  DE  MEN  A,  b.  Cordoba,  probably  1390-1400. 
Studied  at  Rome— senator  of  his  native  city — as  early 
as  1428,  intimate  with  John  II — 1429  his  Latin  Secretary 
and  Historiographer  (Cibdareal  Ep.  20.J  King  desires  to 
be  praised  by  him.  (ib.  Ep.  48.  49J  He  labours  on  his 
chronicle  from  1429  to  1452  (ib.  Ep.  23,  and  Chronica 
de  D.  Alvaro,  Ed.  de  la  Acad.  4to.  Tit.  xcv.  p.  250; 
but  never  published  it.  He  wrote  laureat  verses  1445, 
1449,  &c.  (Castro,  Bib.  Rab.  I.  331.;  died  1456.  (Obras, 
1804,  12mo,  nota  previa.;  His  epitaph  and  monument 
by  the  Marquis  de  Santillana.  (Ponz,  Viage  de  Espafia 
x.  38.) 

His  worlts  were  in  favour  from  their  first  appearance, 
and  yet  he  has  never  been  absolutely  popular.  Notices 
of  his  poems  to  his  mistress,  (Cancionero  Gen.  1573. 
44—52.;  his  allegory  of  the  seven  deadly  sins  (Obras, 
1804.  12mo.  p.  201-241)  and  his  poem  called  the  coro- 
nation (Obras,  1566.  12mo.  fol.  260-320.;  in  honor 
of  the  Marquis  de  Santillana. — His  chief  work  is,  EL  LA- 
BERINTO,  commonly  called  Las  trescientas,  because  it  is 
in  300  coplas  or  stanzas — begun  as  early  as  1428  (Cib- 
dareal  Ep.  20.;  Imitation  of  Dante's  Inferno,  whom  he 
had  much  studied  (Obras,  1566.  fol.  261.  b.;  and  in  im- 
itation of  whom,  he  thought  his  work  a  comedy  (Dante, 
de  Vulg.  Eloquen.  Lib.  II.  c.  4.)  Its  plan  and  character. 
The  fine  account  (copla  160;  of  Count  de  Niebla,  who 
perished  before  Gibraltar  in  1436,  (Mariana,  II.  343.; 


23 

The  whole  poem  corrected  by  John  II.  (Cibdareal  Ep. 
20.  47.  49.  56.J — additional  Stanzas  (Cancionero  Gen. 
1573.  fol.  41.J— Spirit  of  the  whole. 

64.  RODRIGO  MANRIQUE,  b.  1416. — A  distinguished  general 
(Tulgar,  Tit.  13.     Mariana,  II.  510.  517.J  created  Mar- 
quis de  Paredes.     Poem  to  his  mistress  (Cancion.  Gen. 
1573,  fol.  183.;— died  1476. 

65.  GOMEZ  MANRI^UE,  his  brother — statesman  and  soldier — 
(Nicolas  Antonio,  Bib.  Vet.  II.  342.     Pulgar,  p.  71.) 
His  poetical  letter  to  the  Marquis  de  Santillana  (Cancion. 
General,   1573,    fol.    76.) — His     allegorical    poem    on 
the  death    of    Santillana  (ib.   57-67.)       Collected  his 
poetry  for  count  Benevente.  (Adiciones  a  Pulgar,  p.  223.) 
Other  poems  (Can.   Gen.   1573.  57-77.  243.)      The.ir 
character. 

66.  JORGE  MANRIQ.UE,  son  of  Rodrigo — character  mingled 
with  melancholy  and    the  spirit  of  military  adventure. 
His  poems  to  ,his  mistress,  (Cancion.  General,  1573.  ff. 
131-139.  176.  187.  189.  221.  243.  244.  245.  381.)     His 
principal   poem  was  on  the  death  of  his  father  (COPLAS 
DE   JORGE   MANRIQ.UE,   12mo.   1588.)  which   happened 
1476 — its  character.      Killed  in  a  skirmish   1479.  (II. 
Mariana,  531.)     Fine  old  ballad  on  his  death,  (Cantos 
de  Fuentes  374—378.) 

67.  FERNAN  GOMEZ  DE  CIBDAREAL,  physician  and  familiar 
friend  of  John  II.  b.  circa  1388 — his  easy,  kind  charac- 
ter— correspondence  with  many  of  the  chief  persons  of 
his  time,  died  about  1456.      His    Centon  Epistolario,. 

^  4to.  1775.    Its  character. 


24 

68.  FERNAN  PEREZ   DE  GUZMAN — b.  soon  after  1400.     A 
man  of  letters  and  a  soldier — connected  with  Lope  de 
Ayala  and  the   Marquis  de  Santillana — commanded  in 
the  battle  of  Higueruela   1431 — time  of  his  death  un- 
known.    (Sarmiento,   p.  363-366.     Sanchez  Coleccion 
1. 209-21 1.)     His  poetry  (Obras  de  Juan  de  Mena,  1566. 
f.  83.     Castro  Bib.  Rab.  I.  298.  342.     Cancion.   Gen. 
1573.  ff.  14.  20.  52.  57)  poor.     His  prose,  Coronica  de 
Juan  II.  fol.  1517.  (cf.  ante  ^  20,  6.)  and  Generaciones 
y  Semblanzas,  Madrid  1775.  4to.   or  biographical   and 
personal  sketches  of  the  persons  about   the  court, — is 
good. 

69.  HERNANDO  DEL  PULGAR — educated  at  the  court  of  John 
II.  and  in  power  in  the  next  reign  (Claros  Varones,  p.  2.) 
Secretary  to  Ferdinand  and  Isabella^  after  1474;  (Letra 
6,  Clar.  Var.  p.  128)— lived  till  after  1492.     His  Histo- 
ry of  Granada  from  1210  to   1492.     Seminario  de  los 
Eruditos  4to.  xii,  56-144.     His    Claros   Varones  4to. 
Madrid  1775,  formed  partly  on  Guzman,  and  consists 
of  sketches  of  characters.     His  letters,  written  between 
1473  and  1483,  preserved  at  the  end  of  the  Claros  Va- 
rones.    Spirited  and  simple  style  of  his  works. 

70.  GREAT  NUMBER  OF  AUTHORS  between  1407,  or  begin- 
ning of  the  reign  of  John  II.  and  the  capture  of  Granada 
in  1492.       They  are   contained    in   the   CANCIONEROS 
GENERALES.     Origin  of  these  loose  collections  of  poetry. 
Oldest  now  known,  that  of  Alfonso  de  Baena,  Secretary 
to  John  II   made  between  1449  and  1454.  (Castro  Bib. 
Rabbin.  I  265-346)  and  containing  works  of  fifty  five 
poets.     The  one  called  Lope  de  Estuniga's,  made  soon 
after  and  contains  thirty  nine  poets.    (King's  Library 


25 

Folio.  M.  48.  ff.  163.)  First  book  printed  in  Spain, 
1474,  is  a  collection  of  poetry,  (Mendez,  Typog.  Esp. 
p.  56.)  In  1492  another,  containing  works  of  nine 
poets,  was  printed,  (Mendez  1 34-1 37.)  In  1511,  Fernan 
de  Castillo  published  at  Valencia,  a  much  larger  col- 
lection, called  the  CANCIONERO  GENERAL,  (Faber  Flores- 
ta  Castellana.  8vo.  Autores  y  Fuentes  No.  7)  a  second 
edition  of  which  was  printed  as  early  as  1514,  (Depping 
Sammlung,  p.  liii.)  and  which  was  successively  enlarged 
in  editions  of  1526. 1535.  1540.  and  1557,  until,  in  1573, 
(he  largest,  the  last,  and  most  complete  edition  was  printed 
at  Antwerp.  The  one  of  1573  contains  all  the  poetry  in 
fashion  in  Spain  from  the  beginning  of  the  xv  to  the 
beginning  of  the  xvi  century.  Its  clumsiness.  It  contains 
works  of  about  one  hundred  and  twenty  different  persons 
and  poets — viz.  devotional  pieces,  ff.  1—34  ; — various 
poets,  as  Santillana,  Mena,  the  Manriques,  the  Guzmans 
&tc.  34-175  ; — canciones,  ballads,  invenciones,  glossas, 
villancicos,  Jkc.  175—254  ; — another  series  of  writers, 
Puerto  Carrero,  Tapia,  Quiros  &c.  254-361  ; — and, 
finally,  at  the  end,  a  few  of  the  time  of  Charles  V.  ff. 
361-386.  This  Cancionero  General  is,  therefore,  the 
great  mine  of  Spanish  poetry  for  the  reigns  of  John  II. 
Henry  IV.  and  Ferdinand  and  Isabella.  Its  singular 
character;  1.  Principal  authors  mentioned  in  it,  (be- 
sides those  we  have  considered  already,  like  Mena,  the 
Manriques  &tc.)  are  Lope  de  Estuniga  (ff.  77-80.  N. 
Antonio.  Bib.  Vet.  II.  354  ;)  Cartagena  Bishop  of  Bur- 
gos, (ff.  107-121.  Cibdareal  Ep  24.  Vida  de  Guz- 
man. Don  Quixote,  Ed.  Pellicer,  I.  xlvii ;)  Garci  San- 
chez de  Badajoz  (ff.  160-175.  Faber,  Floresta  No.  1 16. 
N.  Antonio,  Bib.  Vet.  II.  248.)  &c.  &c. ;  all  of  whom 
4 


26 

lived  in  the  middle  and  latter  part  of  the  xvth  century. 
2.  The  different  forms  of  Poetry  in  which  they  wrote, 
Redondillas  (Essai  sur  la  Litterature  Espagnole,  8vo. 
Paris,  1810.  p.  40.  Renjifo,  Arte  Poetica,  Svo-  1727. 
p.  30-44 ;)  Versos  de  Arte  Mayor  (Sarmiento  p  192, 
sqq;)  Canciones  (Cancionero  1573  contains  156,  ff.  175 
-191  ;)  Invenciones  (ib.  216-225;)  Villancicos  (ib,  225 
-234 ;)  Glossas  (ib.  221-225  ;)  Questiones.  (ib.  235- 
254.) — Small  value  of  all  this  metaphysical  and  conceit- 
ed poetry  of  the  xv.  century,  the  taste  for  which  was 
formed  from  the  bad  Italian  poets,  and  the  fashion  for 
which  prevailed  chiefly  at  court.  Curious,  however,  as 
indicating  the  state  of  society,  in  which,  such  a  man  as  th& 
constable  Alvaro  de  Luna  found  it  necessary  to  write 
verses  (Obras  de  Juan  de  Mena,  1566.  f.  248.  b.)  be- 
cause they  were  so  fashionable. 

71.  CHANGE  IN  THE  CHARACTER  of  the  Spanish  imitations 
of  Italian  Poetry,  in  the  beginning  of  the  xvi.  century — 
causes  of  the  change — 1.  The  intimate  connexion  be- 
tween the  two  countries,  begun  by  the  union  of  Naples 
to  the  Spanish  crown,  in  1501,  and  continued  by  the 
intrigues  and  campaigns  of  Charles  V,  till  the  death  of 
Francis  I,  1547.  (Robertson's  Charles  V.  Svo.  1796. 
I.  129  and  Vol.  II.  passim,)  2.  The  splendid  character 
of  Italian  literature  in  the  age  of  Leo  X. 

72  JUAN  BOSCAN,  b.  in  Barcelona — wrote  first  in  the 
conceited  style — at  about  the  age  of  twenty  five,  in  1526, 
became  acquainted,  at  Granada,  with  Andrea  Navagero, 
Venetian  Ambassador,  a  man  of  literary  taste,  (Tirabos- 
chi  VII.  iii.  228 — 230)  who  incited  him  to  write  in  imi- 
tation of  the  better  Italian  masters  (Obras  de  Boscan,  Svo. 


27 

1543.  ff.  xx.)  Much  opposition  to  Boscan.  Lived  quietly 
at  Barcelona — preceptor  of  the  Duke  of  Alba — translated 
from  the  Greek — translated  Castiglione's  Cortegiano,  El 
Cortesano,  1.  12mo.  Salamanca  1581.  His  Sonnets, 
Canzones — terza  rima — and  ottava  rima,  have  the  stiff 
appearance  of  translations.  Epistle  to  Diego  de  Men- 
doza,  f.  134.  sqq.— Stanzas  on  the  court  of  Love  (f.  141. 
sqq.)  the  longest  of  his  original  poems  and  the  best — 
he  might  have  done  more  than  he  did  to  raise  Spanish 
poetry.  Died  before  1543. 

73.  GARCILASSO  DE  LA  VEGA — friend  of  Boscan — their 
works  first  published  together  in  1543. — Noble  ancestry 
(Hita,  Guerras  civiles  de  Granada  I.  515 — 520)  His 
father,  ambassador  at  Rome.  Born  at  Toledo  1503, 
(Obras  fyc.  por  Fern,  de  Herrera  1.  8vo.  1580) — sent  to 
court — marries — enters  the  army,  (Obras  p.  14) — at  the 
siege  of  Vienna  1532 — imprisoned  (ib.  239) — writes 
verses  on  it  (ib.  234) — at  the  siege  of  Tunis  1535 — 
writes  an  Elegy,  in  Sicily,  on  his  way  home  (ib.  347) 
— was  in  France  and  at  Naples  (ib.  p.  378) — at  the  siege 
of  Marseilles,  1536 — scales  a  tower  near  Frejus  and  is 
mortally  wounded — died  at  Nice,  1536.  The  Empe- 
ror's inhuman  revenge  for  his  death. 

His  works  to  be  dated,  1526 — 1536 — their  gentleness  and 
melancholy — 37  sonnets — 5  canzonets — 1  epistle — 2  ele- 
gies and  3  pastorals — all  imitations  of  the  Italians — his 
first  eclogue  (Obras  p.  385)  much  the  best.  His  singu- 
lar rhymes  from  the  Arabs. — His  death  mourned  in  verse 
by  Bembo  and  Tansillo,  (ib.  18.  19.) — His  eclogues 
represented  by  strolling  players  long  afterwards  (Don 
Quixote,  Parte  II.  c.  38.)  His  poetical  genius. 


28 

^  74.  JUAN  DE  TIMONEDA — imitator  of  the  Italian  Prose 
tales — a  Valcncian — friend  and  follower  of  Lope  de 
Rueda — was  a  printer,  (Cervantes,  Viage  al  Parnaso,  8vo. 
p.  116)  fl.  1511  to  1576.  (Ximeno,  Escrit.  de  Valen- 
cia, fol.  I.  72.  N.  Antonio,  Bib.  Nov.  I.  787.  Diana 
Eham.  de  Pclo.  1802  p.  369.)  Wrote  comedies,  pasto- 
rals Sec. — his  PATRAIIUELO  or  Story  teller,  published 
1576 — contains  twenty  stories  from  different  sources; 
from  Boccaccio  (Patranuelo  &c.  12mo.  1759.  Patrana 
ii.  p.  10) ;  from  Apollonius,  Prince  of  Tyre,  (Patrana 
x.  p.  103)  a  Greek  rhymed  romance  printed  1569 
(Schelhornii  Amcenitates  Lit.  V.  274) ;  and  from  many 
others.  It  contains  a  much  older  version  of  the  Story  of 
King  John  and  the  Abbot  of  Canterbury  (Percy's 
Reliques,  II.  343)  in  Patrana  xiii.  p.  177, — his  easy  style 
and  manner. 

<}  75.  FRANCISCO  DE  VILLALOBOS, — Physician  to  Charles 
V. — imitated  the  Italian  didactick  prose  writers,  who 
now  became  fashionable  models  in  Spain  (Obras  de 
Oliva,  Morales,  I.  xvi.  sqq.)  Villalobos  fl.  1498 — 1643. 
(Mendez  p.  249.  N.  Antonio,  Bib.  Nov.  I.  498.)  His 
works  Libro  intitulado  Los  Problemas  &;c.  folio  1544 
black  letter — Treatises,  Dialogues,  &c.  in  the  manner  of 
Castiglione,  Bernbo,  &c. 

§  76.  FERNAN  PEREZ  DE  OLIVA — b.  circa  1497, — good  edu- 
cation, ( Obras  de  Oliva,  Madrid  1787.  12mo.  II.  31-34. 
52.) — studies  at  Salamanca,  Alcala,  Paris  and  Rome. 
Teaches  at  Paris — at  Salamanca,  (Obras  I.  xlv.) — Tutor 
to  Philip  II — dies  before  40.  His  Dialogo  de  la  Dig- 
nidad  del  Hombre — his  other  works — his  preference 
of  the  Spanish  over  the  Latin. 


29 

^  77.  FRANCISCO  CERVANTES  DE  SALAZAR — died  1546,  His 
continuation  of  Oliva's  Dialogue.  Obras  de  Salazar, 
1,  4to  1772.  Vanega,  Prologo  a  Mexia  p.  viii,  sqq. 
xix,  xxv. 

v)  78.  Luis  DE  MEXIA,  fl.  1540 — Apologo  de  la  Ociosidad 
i  el  Trabajo  (inserted  in  Obras  de  Salazar.) 

^  79.  AMBROSIO  DE  MORALES — nephew  to  Oliva, — educated 
by  him — imitates  him — his  defence  of  the  Spanish  Lan- 
guage &tc.  (Obras  de  Oliva,  I.  xvi — xlvii.  and  Vol.  II.) 

v}  80.  ANTONIO  DE  GUEVARA — Historiographer  to  Charles  V. 
and  Bishop  of  Mondofiedo — was  some  time  in  Italy — 
much  about  the  Emperor's  person — his  elegant  learning — 
died  1544.  (I.Antonio,  Bib.  Nov,  I.  128.  Obras  de 
Guevara,  fol.  1545.  black  letter,  f.  126.  b  )  His  Relox 
de  Principes — His  Lives  of  the  ten  Roman  Emperors — 
His  Treatise  on  a  Courtier's  life  &c. — His  character. 

§  81.  GENERAL  REMARKS  ON  THE  ITALIAN  SCHOOL  in  Span- 
ish literature,  both  while  it  was  conceited  or  during  the 
reigns  of  John  II.  Henry  IV.  and  Ferdinand  and 
Isabella ;  and  while  it  was  more  liberal  and  enlightened, 
or  during  the  reign  of  Charles  V. 

§  82.  GENERAL  REMARKS  ON  THE  WHOLE  EPOCH  and  on  the 
rich  and  abundant  materials  it  affords  as  the  foundation 
for  an  independent,  original  literature. 


EPOCH  SECOND. 


THE  LITERATURE,  THAT  EXISTED  IN  SPAIN,  BETWEEN  THE 
DEATH  OF  THE  EMPEROR  CHARLES  V.  AND  THE  ACCESSION 
OF  THE  BOURBON  FAMILY  J  OR  THE  PERIOD  THAT  COM- 
PREHENDS THE  BEST  LITERATURE  OF  THE  COUNTRY. 

JFROM  ABOUT  1555  TO  ABOUT  1700. 


SECOND  EPOCH. 


FIRST  DIVISION. 

83.  THE  PRINCIPAL  AUTHORS,  WHO  GAVE  THE  LEADING  IM- 
PULSE TO  THIS  EPOCH. 


84.  INTRODUCTORY  REMARKS.  The  period  of  national 
greatness,  that  of  national  literary  success  in  almost  all 
countries.  Consolidation  of  the  Spanish  monarchy  at 
home.  Its  extent  abroad.  America  discovered  1492. 
Low  countries  added,  by  inheritance,  to  Charles  V.  1516. 
Empire  of  Germany,  1519.  His  expeditions  and  conquests. 
New  impulse  given  to  the  Spanish  character.  Its  effect  on 
the  national  literature  begins  to  be  visible  at  the  end  of  the 
reign  of  Charles  V.  Robertson's  Charles  V.  passim. 


85.  DIEGO  HURTADO  DE  MENDOZA,  b.  in  Granada  in  1503. 
(See  his  Life  prefixed  to  his  Guerra  de  Granada,  1.  4to. 
1776.  It  was  written  by  the  learned  Inigo  Lope  de  Aya- 
Iju  Cf.  Cerda  ad  Rhetor.  Vossii,  Svo.  Matriti  1786.  p. 
189.  note  1.).  His  family  distinguished  among  the  nobles. 
Destined  to  the  church.  Knowledge  of  Arabick.  Studies 
at  Salamanca. 

5 


34 

86.  LAZARILLO  DE  TORMES  (1.  12mo.  Burdeoa  1816,  com- 
plete.— 1.  12mo.  Madrid  1664,  curiously  expurgated)  which 
he  wrote  at  this  time,  is  the  first  story  in  the  gusto  picaresco, 
of  which    Gil   Bias  is  the  most  perfect  specimen.      Its 
outline  and  character. 

87.  Mendoza  goes  to  Italy.     Becomes  a  soldier,  Guerra  de 
Granada,  p.  231.      Continues  his  studies.     Minister  to  the 
Republic  of  Venice  in  153S.      His  connexion  with  the  Al- 
di.     Paulus  Manutius  dedicates  an  edition  of  Cicero's  phi- 
losophical works  to  him.      He  is  created  military  governor 
of  Sienna.     He  is  sent  as  imperial  ambassador  to  the  Coun- 
cil of  Trent — and  finally,  in  1547,  as  imperial  ambassador 
to  Rome.     His  great  power   and  influence.      He  returns 
home  in  1554.    Philip  II.  does  not  favour  him.    He  comes 
seldom  to  court.     Offends  the  king,  and  is  exiled. 

88.  Writes  poetry.      (Sedano,  Parnaso  Espanol,  iv.  1-23. 
viii.  97-120.)      His  Epistle  to  Boscan,  (Obras  de  Boscan, 
1543,  fol.  cxxix.  sqq.)  is  partly   an  imitation  of  Horace's 
Epistle  to  Numicius.      (I.  Epist.  6.)      The  Hymn  to  Car- 
dinal Espinosa,  full  of  Pindar.  (Sedano,  iv.  13.  note  p.  ii.) 
General  character  of  his  poetry. 

89.  Two  very  amusing  prose-letters,  first  printed  in   1789  ; 
one,  in  ridicule  of  the  general  sycophancy  of  those  who 
were  seeking  for  office,  (Seminario  Erudito,  4to.  xviii.  238, 
sqq.)  and  the  other,  to  Pedro  Salazar,  ridiculing  a  book  he 
had  published  in  1 552.    (Semin.  Erudit.  xxiv.  205,  sqq. — 
D.  Quixote,   Ed.   Pellicer,  II.   4.  note. — II.  N.  Antonio. 
Nov.  235.)     The  original  gaiety  of  his  disposition. 

90.  He  retires  to  Granada.     Gives  himself  to  the  study  of 
Moorish  literature.     Writes   his  GUERRA  DE  GRANADA — 
the  history  of  the  rebellion  of  the  Moors  between   1568 


35 

and  1570.  His  extraordinary  means  for  such  a  work. 
Imitates  the  ancients,  but  chiefly  Sallust.  His  fine  descrip- 
tion of  the  spot  covered  with  the  bones  of  Alonzo  de  Agui- 
lar  and  his  party,  (Guerra  de  Granada,  4to.  1776.  Lib.  IV. 
p.  300.)  taken  almost  verbatim  from  Tacitus.  (Annal.  I. 
61,  62. — Cf.  also  Hita,  Guerras  Civiles,  I.  566-578.)  The 
eloquent  speech  of  Zaguer,  the  Moor,  (Lib.  I.  p.  29-31.) 
is  imitated  from  Livy.  The  whole  work  is  short.  Its 
character. 

He  gives  his  books  to  Philip  II.  and  they  are  still  among 
the  chief  treasures  of  the  Escorial.  He  dies  April  1575. 
His  character. 


91.  FERNANDO  DE  HERRERA,  b.  at  Seville  soon  after  1510. 
A  monk.  Died  soon  after  1590.  (Fernandez,  Coleccion 
de  Poesias  Castellanas,  IV.  82-87.) 

Most  of  his  works  are  lost.  His  chief  and  best  attempts 
are  in  lyrical  poetay.  (Fernandez,  Col.  IV.  and  V.)  His 
system  to  raise  the  poetry  of  his  country  was  pushed  too 
far.  Some  of  his  odes,  however,  are  free  from  it,  and  have 
a  very  high  merit.  That  on  the  battle  of  Lepanto,  1571  ; 
(Fernandez,  V.  38.)  and  that  on  the  death  of  Sebastian 
of  Portugal,  1578,  (V.  104.)  are  very  fine.  His  poetical 
works,  first  printed  in  1619,  (Cean,  Diccionario  de  las  Bel- 
las Artes,  IV.  19.)  The  earliest  excellent  lyrical  poetry  in 
Spain. 


\>  92.  Luis  PONCE  DE  LEON,  b.  in  Granada  in  1527.     (Vide 
a  life  of  him  in  Gregorio  Mayans  y  Siscar,  Cartas  de  vari- 


36 

es  autores  Espanoles,  12mo.   1773.     Valencia,  IV.  398- 

468.)     His  family  noble     Studies  at  Salamanca.  Becomes 

an  Augustine  monk.     Doctor  in  theology  1560.  Professor 
at  the  university  1561. 

93.  His  Cantar  de  Cantares,  or  Translation  of  Solomon's 
Song,  made  for  a  friend,  who  did   not  understand   the  vul- 
gate,  and  in  which  he   maintains  that  work  to  be  a  pastoral 
eclogue,  (OBRAS  DE  F.Luis  DE  LEON, 6.  8vo.  MADRID  1804 
-1816. — V.  i.  and  5.)  fell  into  the  hands  of  an  enemy.     In 
1572  he  was  brought  before  the  inquisition,  charged  on  this 
MSS.  with  Lutheranism,  (Obras,  V.  293. — Llorente,  Hist. 
de  1'Inquisition,  Paris  1818,  II.  453.)  and  with  other  offen- 
ces.    Remains  in  prison  five  years.     Released  and  restor- 
ed in  the  university,   30.  Dec.    1576.      (Sedano   Parnaso 
Espanol,  V.  xii.) 

In  1580,  he  published  his  full  length  Commentary  on  the 
Canticles.  (II.  N.  Ant.  Bib  Nov.  46.)  Still  maintains  it 
to  be  an  eclogue  in  form.  (Obras,  V.  12.)  His  beautiful 
translation  of  the  whole  in  verse,  never  printed  till  1806. 
(Obras  V.  258-280.) 

94.  His  Nombres  de   Christo  published  between   1583  and 
1585.     ^Obras  III.  IV.)     Its  character.     Dialogues  in  imi- 
tation of  the  Tusculan  Questions  ;  but  falls  even  more  into 
long  speeches.     A  sermon  once  occurs,   (III.    160-214.) 
Its  peculiar  eloquence. 

His  Perfecta  casada,  or  Perfect  wife  (Obras  IV.)  first 
published  1583,  is  the  most  popular  of  his  prose  works,  and 
his  Exposition  de  Job,  written  between  1576  and  1591,  but 
first  published,  1779  (Obras  I.  II.)  is,  on  some  accounts  the 
most  able.  Their  character. 

He  never  recovered  his  health  or  spirits  after  his  confine- 
ment. His  great  influence.  Died  1591. 


37 

95.  His  poetical  works  (Obras  VI.)  collected  from  his  early 
MSS.  to  please  his  friend  Pedro  Porto  Carrero,  were  first 
published  by  Quevedo  in  1631.  Among  them  are  many 
beautiful  translations;  but,  especially,  about  an  hundred 
pages  of  original  compositions,  which  are  to  be  placed  at 
the  head  of  Spanish  lyrical  poetry.  Sre  Obras,  VI.  5.  21. 
24.  28.  31.  42.  61.  etc. 


96.  MIGUEL  DE  CERVANTES  SAAVEDRA.  (Two  Lives  of 
him  are  important— one,  prefixed  to  the  academy's  edition 
of  Don  Quixote,  1780,  arid  written  by  Vicente  de  los  Rios, 
— Guarinos  Bib.  Esp.  del  Reynado  de  Carlos  III.  Tom.  V. 
p.  19. — and  the  other,  by  Pellicer,  prefixed  tq  his  own  ex- 
cellent edition  of  Don  Quixote,  Madrid,  1797.)  Cervan- 
tes was  born  at  Alcala  de  Henares,  in  Oct.  1547.  Allusions 
to  the  place  of  his  birth,  in  his  .works.  (D.  Quixote,  Parte 
I.  c.  29.  Galatea,  1784,  I.  p.  66.)  His  early  studies.  His 
instructer  publishes  some  of  his  poetry  in  1569.  (Don 
Quixote,  edicion  de  Masson,  Paris,  12mo.  1814.  I.  312. 
317.)  Character  of  this  poetry. 

.  In  1570  he  is  at  Rome  with  Cardinal  Aquaviva.  (Gala- 
tea 1784.  Dedicatoria,  I.  vii.)  Holy  League  of  1571. 
Cervantes  enlists.  His  military  feelings  continued  with  him 
through  his  life.  (Persiles  y  Sigismunda,  1802.  8vo.  II. 
128.)  At  the  great  fight  of  Lepanto,  Oct.  8,  1571,  he  re- 
ceived a  wound,  which  deprived  him  of  the  use  of  his  left 
hand  and  arm  for  life.  ('Viage  al  Parnaso,  8vo.  1784.  c.  I. 
p.  6.  9.)  His  proud  recollections  of  that  day.  (D.  Quix- 
ote Prologo  al  Parte  II.)  Probably,  he  continued  in  the 
expedition  during  1572.  (D.  Quixote,  Parte  I.  c.  39.) 


38 

After  this,  he  was  above  a  year  at  Naples  in  the  service  of 
Spain.  (Viage  al  Parnaso,  c.  8.  p.  126.  D.  Quixote,  Ed.  de 
Masson.  I.  333.  J  Embarked  at  Naples  to  return  to  Spain. 
Taken  by  an  Algerine  man  of  war,  Sept.  16. 1575.  Remain- 
ed in  captivity  five  years  and  an  half.  His  great  sufferings. 
The  boldness  of  his  projects  to  escape.  The  distinguished 
reputation  he  acquired  at  Algiers.  (D.  Quixote,  Ed.  de 
Masson,  I.  328-333.)  Ransomed  by  the  joint  contributions 
of  his  mother  and  sister  and  the  religious  commissioners, 
and  returned  home,  1581.  (ib.  333-335.) 

§  98.  After  having  failed  in  an  attempt  to  get  an  office  in  the 
American  provinces  (Archives  de  las  Indias,  Sevilla,  Es- 
tante,  II.  Cajon  5.  Legajo  1.  MSS.)  he  devoted  himself  to 
letters. 

^  99.  His  EARLY  PLAYS.  State  of  the  stage  at  the  time,  he 
wrote  them.  (Comedias  &tc.  1749.  Tom.  I.  Prologo  al  Lec- 
tor.) The  mode  he  took  to  raise  it.  Wrote  twenty  or 
thirty  pieces.  Two  of  these  discovered  in  1782  and  print- 
ed in  1784,  with  the  Viage  al  Parnaso  in  1.  Svo.  Madrid. 
~El  Trato  de  Argel,  or  Lafe  at  Algiers.  Its  character.  One 
of  its  episodes,  he  afterwards  used  in  his  tales.  (Novelas 
Valencia,  1797. 1.  97  sqq.)  The  whole  play  used  after- 
wards in  the  composition  of  another.  (Comedias,  1749. 1. 
186.)  Numancia,  founded  on  the  story  of  the  siege  of 
Numantia.  (Florus,  Epit.  II.  18.  Mariana,  Lib.  III.  c.  6- 
10.)  Its  character.  A.  W.  SchlegePs  opinion  of  it.  (Vor- 
lesungen  iiber  dramatische  Kunst,  II,  ii.  345.)  These  two 
pieces  are  to  be  dated  soon  after  his  return  from  captivity. 

§  100.  LA  GALATEA,  SEIS  LIBROS,  2.  Svo.  Madrid,  1784.  First 
published,  1584.  A  pastoral  romance  in  prose,  unfinished. 
Diana  Enamorada  of  Montemayor,  1545,  and  Gil  Polo's 
continuation  of  it,  1564.  A  species  of  composition  essen- 


39 

tially  in  bad  taste.  Cervantes'  style  in  the  Galatea  is,  how- 
ever, beautiful.  His  own  opinion  of  it.  (Don  Quixote, 
Parte  I.  c.  6.)  Broken  off,  perhaps,  from  finishing  it  by 
his  marriage,  Dec.  1584.  Frequently  thought  of  resuming 
it,  even  till  his  death  ;  (Persiles  y  Sigismunda,  I.  xii.)  but 
still  it  is  a  fragment. 

^  101.  In  1585,  6,  and  7,  he  was  at  Madrid.  Goes  to  Seville. 
Seems  to  have  been  engaged  in  some  business  there.  In 
1595,  he  gained  a  poetical  prize  at  Zaragoza.  In  1596, 
his  sonnet  on  the  troops,  that  came  to  Seville,  (D.  Quix- 
ote, Pellicer,  I.  Ixxxv.)  and  in  1598,  one  on  a  quarrel  be- 
tween the  municipality  of  Seville  and  the  inquisition,  which 
he  valued  very  highly.  (Viage  al  Parnaso,  c.  4.  p.  53.  Se- 
dano,  ix.  193) 

(^  102.  In  1604,  he  goes  to  Valladolid,  with  business  to  transact. 
Publishes  the  first  part  of  Don  Quixote  1605.  In  1606,  he 
follows  the  court  to  Madrid,  where  he  passes  the  rest  of  his 
life.  In  1610,  attempts  to  get  a  place  under  the  count  de 
Lemos,  viceroy  of  Naples,  through  Lupercio  de  Argensola, 
of  whom  he  had  spoken  with  great  admiration,  (D.  Quix- 
ote, Parte  I.  c.  48.J  and  alludes  to  his  want  of  success  ia 
his  Viage  al  Parnaso,  c.  3.  p.  40. 

^103.  NOVELAS  EXEMPLARES,  2. 12>io.  VALENCIA,  1797.  First 
published  1613.  Twelve  stories  of  unequal  length.  Two 
of  them  written  before  1604.  (D.  Quixote,  Ed.  Pellicer  III. 
200.)  and  others  at  different  times.  Much  of  his  personal 
observation  in  them,  as  in  Rinconete  y  Cortadillo,  II.  290 
sqq. ;  the  Zeloso  Estremeno,  I.  169  sqq. ;  and  the  Amante 
Liberal,  I.  97  sqq. — The  Gilanilla  on  the  gypsey  life, 
as  it  then  existed  in  Spain,  is  a  very  beautiful  story,  full  of 
Spanish  character  and  manners,  written  about  1610.  (II. 


40 

62  and  85.)  Sketch  of  the  gipsey  history  Irom  their  first 
appearance  in  Europe,  about  1417,  till  the  time  when  Cer- 
vantes wrote  this  story.  (Grellmann's  Geschichte  der  Zi- 
geuner,  1.  8vo.  1787.)  The  story  itself.  Its  character. 
Rinconete  y  Cortadillo — Jimantt  Liberal — and  other  tales. 

^  104.  VIAGEAL  PARNASO,  MADRID  1784,  1.  Svo,  first  publish- 
ed 1614.  Imitation  of  Cesare  Caporali.  Its  character. 

Cervantes  is  held  in  greater  esteem — patronized  by  the 
count  de  Lemos,  and  by  the  archbishop  of  Toledo.  Does 
not  seem,  from  this  time,  to  have  suffered  greatly  from 
poverty.  (Carta  Castellana  de  J.  A.  Pellicer  &c.  1800. 
12mo.  p.  11.) 

§  105.  COMEDIAS  Y  ENTREMESES  2.  Svo.  MADRID,  1749,  first 
published,  1G15.  Eight  plays  in  three  Jornadas  or  acts, 
and  eight  Entremeses,  or  farces.  His  earlier  pieces,  (Viage 
al  Parnaso,  p.  139.)  Lope  supersedes  him  entirely,  (Come- 
dias  &c.  1749,  Prologo.j  and  establishes  a  numerous  school 
of  writers  on  the  stage  before  1615. — These  plays  of  Cer- 
vantes were  written  in  imitation  of  Lope  and  his  school 
about  1614.  They  were  never  represented  Printed  them 
with  difficulty.  (Prologo  del  Autor.)  Different  reasons 
given  for  their  little  merit,  by  Bias  de  Nasarre  (Prologo. 
del,  que  hace  imprimir,  1749.  Tom.  I.)  and  Xavier  Lam- 
pillas,  (Ensayo  historico-apologetico  de  la  Literatura  Espa- 
nola,  1789.  Madrid,  VI.  170  sqq.)  The  true  reason  why 
he  failed. 

^  106.  In  Oct.  1615,  he  published  the  second  part  of  his  Don 
Quixote.  Alludes  to  his  failing  health  in  the  dedication. 
Incident  on  his  return  from  Esquivias,  where  he  went  in  the 
spring  of  1616.  (Persiles  y  Sigismunda,  I.  xiv.)  April  2d, 
became  a  Franciscan  friar.  April  18th,  received  the  ex- 


41 

treme  unction.  April  19th,  wrote  the  extraordinary  dedica- 
tion to  Persiles  y  Sigismunda.  April  23d,  died. 

107.  PERSILES  Y  SIGISMUNDA,  2. 8vo.  MADRID,  1802.  First 
published  1617.     His  purpose  in  writing  it.     A  serious  ro- 
mance.     Resemblance  to  Theagenes  and  Chariclea ;  but 
has  much  in  common  with  other  earlier  efforts  in  romantic 
fiction.     Its  character. 

108.  DON  QUIXOTE,  EDICIONDE  J.  A.  PELLICER,  MADRID, 

1797,  1798.  5.  8vo.  Know  little  of  Cervantes,  during  the 
twenty  years  immediately  preceding  the  publication  of  the 
first  part.  Tradition  of  his  ill-treatment  in  La  Mancha, 
probable.  Declares  in  the  Prologo,  (I.  Ed.  Pellicer,  p. 
cxxi.)  that  he  began  its  composition  in  a  prison. — Singular 
intentions  and  a  sort  of  allegorical  purpose  sometimes  at- 
tributed to  him;  (Sismondi,  Litt.  du  Midi,  III.  339  sqq.j  but 
his  own  reasons  (Don  Quixote,  Paris,  1814,  VII.  396.) 
quite  sufficient,  when  we  consider  the  extraordinary  fanati- 
cism for  books  of  chivalry  then  prevalent.  (Obras  de  Gue- 
bara,  1545.  f.  clviii. — Mayans  y  Siscar,  Origines  &tc.  II. 
158. — Pedro  Mexia,  Vida  de  Constantino,  c.  1. — D.  Quix- 
ote, Paris,  1814,  II.  7-10.  VI.  101.  II  170.) 

109.  PARTE  PRIMERA,  first  published  1605. — Its  general  out- 
line. 

110.  Before  the  second  part  was  published,  though  after  it  had 
been  announced,  (Novelas  Exemplares,  Preface)  there  ap- 
peared in  1614,  f^ida  y  Hechos  del  ingenioso  Hidalgo,  Don 
Quixote  de  la  Mancha.     Contiene   su  quarta  salida  y  la 
quinta  pane  de  sus  aventuras.     For  el  Licenciado  JUonso 
Fernandez  de  Jlvellaneda,  natural  de   Tordesillas.     (A  new 
edit.  Madrid,  1805,2.  12mo.)      The  name  here  given  is 
feigned,  and  the  real  one  is  not  known.     (D.  Quixote,  Ed. 

6 


42 

Pellicer,  I.  clvi-lx. — V.  234,  note.)  Probable  cause  of  its 
being  written.  Cervantes  receives  it,  no  doubt,  while  writ- 
ing the  fifty-ninth  chapter  of  the  second  part.  His  perse- 
cution of  it,  (D.  Quixote,  Paris,  1814,  VII.  181  sqq.)  arid 
entire  triumph  over  it. 

111.  PARTE  SEGUNDA,  first  published  in  1615.     Its  general 
outline. 

112.  Cervantes  was  little  aware  of  what  he  had  done,  as  is  ap- 
parent from  the  great  carelessness  shown  in  the  whole  work. 
It  has,  properly  speaking,  no  plan.  (D.  Quixote,  Ed.  Pelli- 
cer, I.  xxviii.  sqq.) — In  some  parts,  the   hero  belongs  to  a 
remote  age — in  others,  he  is  contemporary  with  his  author. 
(Examen.  Critico  &c.  [por  J.  A.  Pellicer,]  1806,  12mo.  p.  5 
sqq. — Ant.  Eximeno,  Apologia  &ic.  8vo.  1806, p.  15  sqq.;  64 
sqq.— D.  Quixote,  Paris,  1814,  VII.  101.  VI.  218.)     Other 
absurd  mistakes  and  inconsequences,  showing  how  little  he 
valued   his  work.   (D.  Quixote,  Paris,    1814,  iv.  230 — iv. 
52.  157 — v.  71.  vii.  114.  263.— vii.  180,  note.— iii.  80,  note. 
379.  (h.)  vii.  71.  vi.  401.  P.)  The  characters  of  Don  Quixote 
and  Sancho.  Difficulty  of  translating  the  Don  Quixote.  (Tyt- 
ler's  Essay  on  Translations,  8vo.  1813,  p.  281  sqq.)    Great 
eloquence  and  rich  style  of  large  portions   of  it.      It  is  the 
oldest  clasical  specimen  of  romantic  fiction.  How  we  should 
consider  the  character  of  Cervantes  himself. 


113.  ALONSO  DE  ERCILLA  Y  ZuniGA — b.  Madrid,  Aug.  7, 
1533.— Page  to  Philip  II.  Travels  with  him,  1547-1551. 
In  England,  1554,  when  Philip  married  Mary.  Troubles 
in  Arauco.  Expedition  against  it  undertaken.  Ercilla 


43 

joins  it,  aged  21.  (Araucana,  c.  xiii.  vol.  1.  p.  250.  Great 
sufferings  in  South  America.  He  is  near  being  executed 
for  an  affray  at  a  tournament;  (Vol.  11.  379.  401.)  and  is, 
at  last,  exiled.  Returns  to  Spain  in  1562.  Marries,  1570, 
Dona  Maria  de  Bazan.  His  notice  of  her.  (Vol.  II.  p 
63.)  In  1576  he  is  gentleman  of  the  bedchamber  to  the 
emperor  of  Austria.  In  1580  he  is  in  Madrid  again.  In 
1596  occupied  on  another  poem.  Time  of  his  death  un- 
certain. (Life,  prefixed  to  the  Araucana,  and  in  Sedanoj 
Parnaso  Esp.  II.  xvi.  sqq.) 

114.  LA  ARAUCANA  &o.  MADRID,  2.  8vo.  1776.  The  best  of 
the  Spanish  heroic  poems.  Its  predecessors, — La  Carolea 
por  Geronimo  Sempere,  2.  12mo.  1560,  thirty  cantos,  and 
Carlo  Famoso,  de  Luis  Zapata,  1.  4to.  1565,  fifty  cantos, — 
are  both  chronicling  poems,  that  do  not  deserve  the  name  of 
epics.  The  Araucana  imitates  them,  in  being  a  faithful 
history  of  the  war  of  Arauco,  (II.  p.  3.)  but  has  a  much 
more  poetical  spirit.  Difficulties  under  which  it  was  writ- 
ten. (I.  liv.)  First  Part,  fifteen  cantos,  printed  1577.  De- 
termines to  add  more  poetical  ornament.  (Parte  segundo» 
Prologo.)  Second  Part,  canto  xvi  to  xxix  inclusive,  published 
1578.  Vision  of  Bellona,  Cave  of  Fiton,  Stories  of  Te- 
guelda  and  Glaura.  Third  Part,  to  canto  xxxvii,  printed 
1590.  Reputation  of  Dido  defended.  Sketches  of  his 
own  life.  Philip's  claim  to  the  crown  of  Portugal.  Char- 
acter of  the  entire  poem.  Cervantes'  opinion  of  it.  (Don 
Quixote,  Ed.  Pellicer,  I.  69.) 


115.  LOPE  FELIX  DE  VEGA  CARPIO.  (Best  life  contained  in, 
Some  account  of  the  lives  and  writings  of  Lope  Felix  de 


44 

Vega  Carpio  and  Guillen  de  Castro,  by  Henry  Richard 
Lord  Holland.  Lond.  1817,  2.  8vo.  His  works  are,  Co- 

LECCION  DE  LAS  OfiKAS   SUELTAS  DE  D.  FREY  LoPE  FELIX 

DE  VEGA  CARPIO,  published  in  Madrid  1776-1779,  in  21 
Vols.  8vo.  with  prefaces  by  the  learned  Cerda  y  Rico.  Cf. 
II.  Guarinos  Bib.  del  Reynado  de  Carlos  III.  p.  173  ; — be- 
sides his  DRAMAS.)  Lope  b.  Madrid,  Nov.  25,  1562. 
Early  talents  and  knowledge.  (Obras  sueltas,  xx  28.) 
Runs  away  from  school ;  but  is  brought  back,  (ib.)  Secre- 
tary to  the  inquisitor  general.  Studies  at  Alcala.  Secreta- 
ry to  the  duke  of  Alva. 

LA  ARCADIA,  (Obras  suelt.  VI.)  a  pastoral  romance  writ- 
ten to  please  the  duke,  (Obr.  suelt,  xx.  31.)  Not  printed 
till  1598.  Its  character.  Probably  contains  part  of  the 
private  history  of  the  duke  of  Alva.  (Quarterly  Review, 
xviii.  18.) 

116.  Lope  marries.  (Obr.  suelt,  xx.  31.)  Duel.  Flies  to  Va- 
lencia.    Returns.     His  wife's  death.      Eclogue  on  the  oc- 
casion.   (Obr.  suelt,  IV.  430-443.)      Becomes  enamoured 
of  another  lady,   who   does  not  favour  him,  and  he  enters 
the  armada,  1588.    (Obr.  suelt.   ix.   355.)      Death  of  his 
brother.    His  literary  labours  on  ship-board.  Returns  1590. 
Secretary  to  the  Marquis  de  Malpica,  and  the  count  de  Le- 
mos.  (Obr.  suelt.  xx.  33.)     Marries  again.     His  happiness, 
(Obr.   suelt.  ix.   357)   and   its  loss   from   domestic  griefs. 
Death  of  his  wife.     Enters  the  church.      Secretary  to  the 
inquisition.     Becomes   a  Franciscan    monk,    1610.    (Don 
Quixote,  Ed.  Pellicer,  I.  cxcix.)     Zealously  continues  his 
literary  labours. 

117.  CANONIZATION  OF  SAINT  ISIDRO.  Notices  of  the  saint. 
(Obr.  suelt.  xi.  343.)     Lope's  poem,  San  Isidro  de  Madrid. 
Its   character.     Jubilee   at  Madrid  1620.      Its  character. 


45 

Lope's  dramas  for  it.  (Obras  suelt.  xii.)  The  Poetical 
Tournament.  (Obras  suelt.  xi.  395.)  What  was  done. 
Tome  de  Burguillos.  (Obras  suelt.  xi.  401.  xii.  426.) 
Volume  of  poetry  under  this  name,  1632.  (Obras  suelt  xix.) 
and  the  dispute  it  has  occasioned.  (Fernandez,  Coleccion 
de  Poesias  Castellanas,  xi. — Sedano,  Parnaso  Esp.  II. 
xxix.)  Lope's  efforts  in  honor  of  San.  Isidro  from  1598  to 
1620. 

^  118.  LA  HERMOSURA  DE  ANGELICA,  of  the  school  of  Ariosto, 
written  on  board  the  armada,  and  printed  1602.  (Obras 
suelt.  II.)  In  imitation,  probably,  of  the  Lagriraas  de  An- 
gelica by  Luis  Barahona  de  Soto,  printed  1586.  (D.  Quix- 
ote, Ed.  Pellicer  I.  70.)  Its  character. 

^  1 19.  LA  DRAGONTEA,  a  bitter  poem  against  England,  the  hero 
of  which  is  sir  Francis  Drake.  Printed  1 602.  (Obras  suelt. 
III.)  Great  terror  of  sir  Francis'  name  in  Spain.  (Bacon's 
Works,  8vo.  1819,  III.  517.— Romancero  General,  1604, 
f.  35.)  Vulgar  spirit  of  the  Dragontea.  Its  literary  char- 
acter. 

i}  120.  JERUSALEN  CON^UISTADA,  printed  1609.  An  epic  in  ri- 
valry with  Tasso.  (Obras  suelt.  xiv-xv.)  A  total  failure. 

^121.  In  161 4,  published  a  collection  of  sacred  poetry.  (Obras 
suelt.  XIII.  vii.)  Its  ballads  still  sung.  (p.  276-313.)  In 
1617,  controversy  with  Pedro  Torres  de  Ramila.  (Don 
Quixote,  Ed.  Pellicer,  I.  cv.)  In  1621,  printed  tales  in  im- 
itation of  Cervantes.  (Obras  suelt.  VIII.)  In  1624,  pre- 
sides at  the  burning  of  a  heretic.  (Pellicer,  Origen  &rc.  I. 
104,  105.)  In  1625,  printed  his  Triunfos  Divinos,  in  rival- 
ship  with  Petrarch.  (Pbras  suelt.  xiii.) 


46 

122.  CORONA  TRACJICA — Epic  in  five  books  on  Mary  Queeu 
of  Scots,  printed  1627.  (Obras  suelt.  IV.)      Its  character. 

123.  LA  DoROTEA,a  long  romance  in  prose  dialogue, like  the 
Celestina,  (cf.  ^  30)  printed  1632,  (Obras  suelt.  VII.)  and 
which  was  his  favourite  among  his  works.  (Obras  suelt.  ix. 
367.)     He  is  himself,   probably,  its  hero.    (vii.  449.)     Its 
character. 

124.  Great  amount  of  sacred  poetry  written  in  his  last  years. 
Some  of  it  festive  and  frivolous,  (ex.  gr.  xiii.  413.  435.  &,c.) 
Some,  having  the  air  of  a  gross  and  sensual  fanaticism,  (ex. 
gr.  xiii.  205.)    And  some,  uncommonly  solemn  and  impres- 
sive, (ex.  gr.  xiii.  186.)     In  the  last  year  of  his  life,  he  was 
in  a  hypocondria,  bordering  on  derangement.    (Obras  suelt. 
xxi.  37.)     His  dreadful  penance.      Death,  26  Aug.  1635. 
Magnificence  of  his  funeral.  (Obras  suelt.  xxi-  42.)     The 
eulogies  on  his  death  unparalleled  in  amount,  (ib.  xx.  xxi.) 
The  respect  shown  him  during  his  life. 

125.  LOPE'S  DRAMATIC  WRITINGS.  State  of  the  theatre  from 
Lope  de  Rueda  to  his  time.    (Lope,  Prologo  a  las  Comedi- 
as,  xiii. — Cervantes,  Prologo  a  las  Comedias,  I.)     Lope  de 
Vega  wrote  childish  plays,  as  early  as  1574.  (Obras  suelt. 
IV.  412.)      Wrote   his  Jacinta,  as  early  as  1580.  (Obras 
suelt.   xx.   30.)      None  of  these,  probably,   represented. 
Perhaps  did  not  write  for  the  public  stage,  till  after  his  re- 
turn from  the  armada  in  1590.     Cervantes  then  at  Seville, 
so  that  the  theatre  was  perfectly  open  to  him.      His  great 
success,  (xx.  Obras  suelt.  31.)      In  1604  had  written  343 
full  length  dramas.    (Obras  suelt.  V.  xviii.-xxv.)     In  1609 
he  had  written  483.   (IV.  417.)     In   1632  he   had  written 
1500.  (Montalvan,   Para  Todos,  Ed.    1661.  p.  533.)     In 
1635,  when  he  died,  he  had  written  1800  dramas  and  400 


47 

autos.  (Obras  suel.  xx.  49.)  More  than  an  hundred  were 
written  in  a  single  day  each.  (Obras.^suelt.  ix.  368.)  Child- 
proofs  of  extraordinary  facility,  (xx.  52.)  He  wrote  in 
different  forms,  which  have  remained  settled  forms  of  the 
theatre  in  Spain  since  his  time. 

126.  1.   Comedias  de  Capay  Espada.  Meaning  of  the  name. 
Their  characteristics.     La  hermosa  Fea  ;  Dineros  son  Ca- 
lidad  ;  La  Moza  de  Cantaro  ;    Autes  que  te  cases,  mire  lo 
que  haces ;  and  For  la  Puente  Juana,  are  among  his  best 
dramas  of  this  class.     He  first  used  the  Gracioso,  or  stand- 
ing buffoon,  who  jests  at  the  author,  the  actors,  and  the  audi- 
ence, in  La  Francesilla,  and  this  character  has  remained  on 
the  Spanish  stage  in  all  forms  of  the  national  drama,  ever 
since.  (D.  Quixote,  Ed.  Pellicer,  IV.  67,  note.)     The  Ga- 
lan  and  Dama,  are,  also,  standing  characters — the  Capigor- 
ron,  a  frequent  one,  &c. 

127.  2.   Comedias  Historiales  or  Comedias  heroycas.     Dif- 
ference between  these  and  the  last.     Their  characteristics. 
Two  on  Bernardo  del  Carpio ;    El  Exemplo  mayor  de  la 
Desdicha,  y  Capitan  Belisario ;  several  on  ancient  Spanish 
history,  La  Estrella  de   Sevilla  &c.  are  among  the  best  in 
this  class. 

128.  3.  Comedias  de  Santos.     Their  characteristics.  Written 
chiefly,  because,  at  that  time,  the  theatre  was  almost  stopped 
by  ecclesiastical  influence  ;  and  Lope's  plays,  in  particular, 
forbidden.    (I.  Pellicer,  Origen.  &c.  I.  120.  151-154.— D. 
Quixote,  Ed.  Pellicer,  IV.  110,  note.     Rojas,  Viage  entre- 
tenido,  1614,  49.  a.)      Their  resemblance  to  the  ancient 
mysteries.     La  Creacion  del  Mundo ;    El  Nacimento  de 
Christo  ;  the  two  on  San.  Isidro ;  San.  Nicholas  de  Tolen- 
tino,  &c.  are  among  the  best  of  this  class  by  Lope. 


48 

129.  4.  Autos  Sacramentales.    Their  characteristics.    Occa- 
sions, when  they  were  performed.     (D.  Quixote,  Parte  II. 
c.  11. — Pellicer,  Origen.  &c.  I.  258,  sqq.)     El  Nombre  de 
Jesus ;  El  Missacantano,  &c.  are  specimens. 

130.  5.  Entremeses.  Origin  of  the  word.  (Covarrubias,  Te- 
soro,  ad  verb.)      How   they   were    introduced    and   used. 
(Obras  sueltas,  xii,  407.)      El  Doctor  simple  ;  El    Padre 
enganado  ;   El  letrado   &tc.  are  specimens.      Their   pur- 
pose. 

131.  What  means   Lope  had  to  create  a  national  drama. 
What  his  designs  were  in  relation  to  it.    (Obras   suelt.   IV. 
406.)     What  he  effected.      The  extension  of  the  drama  in 
his  hands.     Increase  of  the  theatres  and  actors.    (D.  Quix- 
ote, Ed.   Pellicer,   IV.    110,  note.)      Extent  of  his  fame. 
His  plays  acted  in  Italy.      One  acted  in   the  Sultan's  se- 
raglio at  Constantinople,  (ib.  III.  93.  note.)     The  charac- 
ter and  divisions  he  gave  the  Spanish  drama,  have  continu- 
ed essentially   unaltered    ever   since,   in  that   portion  of  it, 
which  is  to  be  considered  national. 

132.  VAST  AMOUNT  OF  LOPE'S  WORKS  IN  PRINT.  Many  nev- 
er printed.  (Obras  suelt.  ix.  369.)  Great  wealth  he  obtained 
from  them.    (Obras  suelt.  xx.  47  )     Their  prevailing  mer- 
its and  defects.     The  fashion  of  improvisation   about  his 
time.  (Pellicer,  Origen,  I.  163.      Rapidity  with  which  he 
composed.  (Obras  suelt.  xx.  51,52.)     Resemblance  of  his 
talents  and  the  spirit  of  his  works  to  the  genius  of  Improvi- 
sation. 


49 

133.  FRANCISCO  DE  QUEVEDO  Y  VILLEGAS.     Life.    Obras, 
Tom.  xi. — b.  1580.     Made  D.  D.  at  fifteen.     Great  learn- 
ing, and  persevering  industry.     At  court.     A  duel.     Es- 
capes to  Sicily.     Patronized   and  employed  there  by  the 
Duke  of  Ossuna.    1615,  sent  to  Madrid  ;  pensioned.    1616, 
Minister  of  Finance  to   the   Duke   as  Viceroy  of  Naples. 
1618,  sent  to  Madrid,  and  is  in  great  favour  both  there  and 
on  his  return  to  Naples.     1620,  fall  of  the  Duke  of  Ossuna. 
Quevedo    imprisoned  three  years  and  a  half.     His  great 
sufferings.     Released ;  and  refuses  publick  employments. 
1634,  married ;  but  his  wife  dies  very  soon.     1641,  an  in- 
famous satire  imputed  to  him,  and  he  is  thrown  into  pris- 
on.    Suffers  dreadfully   for  two  years,  and  is  found  inno- 
cent and  released.      Retires  to  his  patrimonial  estate  very 
poor.     Dies  Sept.  8,  1645. 

134.  His  WORKS.     Obras   de  D.  Francisco  de  Quevedo 
y  Villegas,  &c.  11.  8vo.  Madrid  1791-1794.  Variety  of  his 
talents.     Many  of  his  works  lost  (N.   Ant.  Bib.   Nov.  I. 
463.     Obras  xi.  45.)     His  Poetry  printed  between  1648 
and  1670.  (Bachiller  de  la  Torre  1753,  p.  xii.  Obras  VIII. 
67.)     Called   Parnaso  Espanol.     Sonnets,  Ballads,  Odes, 
Elegies,  Epistles,  Idylls,  Quintillas,  Redondillas,  Entreme- 
ses,  fragment  on  Orlando  Furioso.     His  Gypsey  Ballads, 
very  popular.  (Romancero  de  Germania,  I2mo.  1779,  226 
-295.)     Satires.  (Obras  vii.  192.  viii.  553,  &c.) 

135.  EL  BACHILLER  DE   LA   TORRE.      Cultismo   of  the 
times,  a  sort  of  Euphuism.      His  attacks  on  it.  (Obras  I. 
443.  448.  viii.  82.  85.  &c.)      Prints  a  collection  of  Poems 
under  the  name  of  the  Bachelor  de  la  Torre,  1631.    (Poe- 
sias  que  publico  D.  Francisco   de   Quevedo  Villegas,  &ic. 
Con  el  nombre  del  Bachiller  Francisco  de  la  Torre,  se- 
gunda    edicion    por    D.   Luis    Joseph    Velazquez,    Svo. 
1753.)      Controversy   whether   Quevedo  was  really   the 

7 


50 

author.    (Sedano  II.  xiii.    IV.  xxxix.     Quintana  I.  xxxix. 
Fernandez  Coleccion  IV.  40,  &c.)     Their  character. 

136.  His  PROSE.     His  Treatise  on  the  Providence  of  God 
— Divine  Politicks — Life  of  St.  Paul — Life  of  St.  Thom- 
as— Translation  of  Seneca  de  Remediis  utriusque  fortunse, 
with  a  singular  commentary,  &c.  (Obras  X.  VI.  III.)  These 
are  all  grave.       Their  character.     His  humorous  and  satir- 
ical prose  forms  the  foundation  of  his  fame.     His  Vida  del 
gran  Tacafio  (Obras  I.)  a  picaro  romance.      Its  character. 
Cartas  del  Caballero  de  la  Tenaza,  &tc.  (ib.)     His  six  VIS- 
IONS,   1608-1622,   (Obras   I.)   their   very    extraordinary 
character.     His  originality.      His  great  power  and  talent. 

137.  General  remarks  on  this  Division. 


SECOND  DIVISION. 

138.  THE  CONTEMPORARIES   AND  SUCCESSORS  OF  THESE 
LEADING   MASTERS,  WHO,   IN  THE  SAME  AND  OTHER  DE- 
PARTMENTS   OF    SPANISH    LITERATURE,    SUSTAINED    ITS 
CHARACTER  DOWN   TO   ABOUT  THE   EXTINCTION  OF   THE 
AUSTRIAN  FAMILY  IN  1700,  ARRANGED  ACCORDING  TO  THE 
SPECIES  OF  WRITING,  IN  WHICH  THEY  WERE  DISTINGUISHED. 

I.    EPIC  POETRY 

139.  Sudden  appearance  of  Epic  poetry  in  the  reign  of 
Philip  II.    Its  general  character. 

La  Cdrolea  por  Hierony mo  Sempere,  2.  12mo.  1560. 
Its  subject  and  character.  (Cf.  Ximeno,  I.  135.  Diana 
de  Polo,  1802.  p.  380.) 


51 

Carlo  Famoso  por  Luis  de  Zapata,  I.  4to.  1565.  Its 
subject  and  character.  (Cf.  D.  Quixote,  Pellicer,  I.  71. 
note  3.) 

La  Araucana  por  Monso  de  Ercilla  y  Zuniga,  1577- 
1590.  Cf.  ^  113.  114. 

El  Golfo  de  Lepanto  por  Hieronymo  Cortereal,  1. 
4to.  Lisboa,  1578.  Its  subject  and  character.  (Cf.  Bar- 
bosa  Bibliotheca  Lusit.  fol.  II.  495,  &c.) 

La  Austriada  de  Juan  Rufo,  1.  12mo.  1584.  Its 
subject  and  character.  Faber  Floresta,  &c.  1821.  Nos. 
96.  349.  Other  poems  of  Rufo.  Don  Quixote,  Parte  I. 
c.  6. 

El  Leon  de  Espana  por  Pedro  de  la  Vezilla  Castella- 
nos,  1.  12mo.  1586.  Its  subject  and  character.  Don 
Quixote  ut  supra. 

El  Monserrrate  por  Cristobal  de  t^irues,  1.  12mo. 
1804  (first  printed  1588.)  Its  subject  and  character. 
(Cf.  Ximeno,  1. 247.  Cartas  de  Mayans  y  Siscar  I.  106.) 

De  la  Historia  de  Sagunto,  Numancia  y  Carthago  por 
Lorencio  de  Zamora,  1.  4to.  1589. 

Christoval  de  Mesa,  three  Epics,  1594-1612.  (Cf. 
Velazquez  Dieze,  p.  234.  N.  Ant.  Bib.  Nov.  I.  247. 
Sedano  I.  198-225.  II.  xvi.) 

Conquista  de  la  Betica,  por  Juan  de  la  Cueva,  1603. 
Coleccion  de  Fernandez  XIV.  XV.  Its  subject  and 
character. 

El  Pelayo  del  Pinciano,  1.  12mo.  1605.  Lopez  Pin- 
ciano.  His  Philosophia  antigua  poetica,  1596. — Subject 
and  character  of  the  Pelayo. 

Lope  de  Vega's  Epics,  1602-1627.  Cf.  ^  118,  119, 
120,  122,  &c. 

La  Numantina  de  Francisco  Mosquera,  1.4to.  1012. 


52 

El  Bernardo  de  Bernardo  de  Balbuena,  1.4to.  1624. 

El  Macabeo  de  Miguel  de  Silveyra,  1638.  (1.  12mo. 
1731.)  Cf.  Castro  Bib.  Rabbinica,  I.  626.  Nic.  Ant. 
Bib.  Nov.  II.  147.  Obras  suelt.  de  Lope  de  Vega,  XL 
551.  XII.  190. 

Invention  de  la  Cruz  por  Francisco  Lopez  de  Zarate, 
1.  4to.  1648. 

Napoles  recuperada  por  Francisco  de  Borja,  1641. 
(1651,  1.  4to.) 

Imitations  of  Ariosto,  particularly  the  Lagrimas  de 
Angelica,  1586.  D.  Quixote,  Parte  J.  c.  6.  Galatea,  II. 
117-170. 

Mock  heroicks. — La  Mosquea  de  Jose  de  Villaviciosa, 
1615.  (1.  8vo.  1777.)  Lope's  Gatomachia,  &c. 

General   remarks  on  the   Spanish  Epics  of  the  time  of 
the  Philips,  and  the  causes  of  their  failure. 

II.    DRAMA. 

j  140.  Great  extent  of  the  Spanish  Drama.  Its  sudden  ap- 
pearance and  growth.  Lope  de  Rueda  about  1565.  Cer- 
vantes about  1582  ;  and  Lope  de  Vega  before  1600.  State 
of  the  Theatre  in  1615.  So  large  an  extent  and  variety  of 
authors,  subjects,  and  pieces  requires  us  to  make  divisions 
of  the  Drama. 

A.  COMEDIAS  DE  CAPA  Y  ESPADA  AND  COMEDIAS  HEROYCAS. 

141:  Union  and  confusion  of  these  two  species.  Great 
prevalence  and  popularity.  Their  characteristics  as  dram- 
atized novels,  which  Lope  professed  to  make  them.  (Obras 
sueltas  VIII.  70.)  Constitute  the  most  important  class  of 
Spanish  dramas. 


53 

142.  GASPAR  DE  AGUILAR — an  author  in  1599.    His  Mer- 
cader  amante — (the  ground-work,   perhaps,  of  Cervantes' 
"  impertinent  curiosity") — was  rather  in  the  manner  of  the 
Argensolas,  v}  36.   D.  Quixote,  III.  Ed.  Pel.  214. — chang- 
es his  manner  to  the  popular  one — his  success  (Montalvan 
Para  Todos,   p.   544.) — His  Suerte  sin   Esperanza,   &a 
(Ximeno,  I.  255.) 

143.  Luis  VELEZ  DE  GUEVARA,   mentioned   1615  by  Cer- 
vantes, Prologo  a  las  Comedias.    His  great  success.    Wrote 
above  400  pieces.  (Para  Todos,  p.  545.)     Rival  of  Calde- 
ron  at  the  end  of  his  life.      His  Nina  de   Gomtz  JLrrias. 
(Nic.  Ant.  Bib.  Nov.'  II.  68.)     d.  circa  1646.     His  Amor 
vencido  de  Amor.     His  Luna  de  la   Sierra.    (Flor  de  las 
mejores  doce  Comedias,  1.  4to.  1652.)      His  Mas  Pesa  d 
JRey  que  la  Sangre,  founded  on  the  story  of  Alonso  Perez 
de  Guzman.  (Mariana,  I.  847,  &c.) 

144.  GUILLEN  DE   CASTRO,  fl.   1615-1626.    (Ximeno,  1. 
305.)     A  Valencian.      Member  of  the  Academia   de   los 
Nocturnos.  (Diana  de  Polo,  1802.  515-519.)     His  soldier- 
ship— his  political  power  at  Naples — his  pensions  from  the 
Duke  of  Ossuna  and  Olivarez — his  decline  and  disgrace. 
1620  assists  Lope  at  the  festival  of  San.  Isidro.  (XII.  Lope 
Ob.  suelt.  xlix.  200.  404.)     Lope  dedicates  a  play  to  him. 
(Pellicer,  II.  64.)     Printed  twenty-six  plays  between  1614 
and   1625.      His  Amor  constante — His  Piedad  en  la  Justi- 
cia — His  Don  Quixote — His   Mocedades  del   Cid,  in  two 
parts,  founded  on  the  old  popular  ballads.     How  Corneille 
come  to  take  the  first  part  for  his  Cid  (CEuvres,  1801.  UI. 
9.)    1635.      Comparison  of  the   two.      Passages    Guillen 
took  unaltered  from  the  old  ballads.   (Roman.  Gen.  1602. 
213  a.     Rom.  del  Cid,  p.  13.)     Second  part  of  Guillen's 
Cid  poor.     His  character. 


54 

vj  145.  Luis  DE  BELMONTE,  fl.  1G20-1632.  (Para  Todos,  p. 
545.)  Twenty-seven  plays  known.  His  El  mejor  Tutor 
es  Dios.  Comedias  nuevas,  1.  4to.  1C67,  Other  pieces. 
(N.  Ant.  Nov.  II.  23.) 

$}  146.  ANTONIO  MIRA  DE  MESCUA — native  of  Cadiz.  (Dia- 
blo cojuelo,  1798,  p.  100.)  His  great  fame.  Gains  a 
prize  1620.  (Lope,  Obr.  suelt.  xii.  219.)  Praised  by  Lope 
and  Cervantes.  His  Rueda  de  la  Fortuna.  His  Desgra- 
dada  Raquel,  1635. — His  Cavallero  sin  Nombre.  Wrote 
lyrical  poetry.  (Quintana,  III.  390.)  His  Palacio  confuso. 
(Coraedias  nuevas,  1667)  formed  the  foundation  for  Cor- 
neille's  Don  Sanche  d'Arragon.  (CEuvres,  VI.  233.) 

5)  147.  JACINTO  CORDERO — a  Portuguese — b.  1606,  d.  1046. 
Barbosa  Bib.  Lusit.  fol.  II.  462.  Nine  Spanish  plays,  suc- 
sessfully  represented  at  Madrid.  His  Victoria  por  el  Amor. 

^  148.  GABRIEL  TELLEZ,  commonly  called  TIRSO  DE  MOLI- 
NA, b.  Madrid  circa  1580.  (Deleytar  aprovechando,  4to. 
1765.  Prologo.  N.  Ant.  Nov.  I.  510.)  Educated  at  Al- 
cala.  1620,  enters  a  religious  house.  Becomes  its  head. 
Hence  prints  his  secular  works  under  a  feigned  name.  d. 
1648.  His  Cigarrales  de  Toledo,  1.  4to.  1624.  Its  singu- 
larcharacter.  His  dramatic  talent.  Wrote  70  plays  at 
least.  A  full  disciple  of  Lope.  (Cigarrales,  185-187.) 
His  Don  Gil  de  las  Colzas  verdes  ;  its  remarkably  involv- 
ed intrigue.  His  Burlador  de  Sevilla,  foundation  of  the 
character  of  all  the  Don  Juans.  His  Vergonzoso  en  Pala- 
cio, partly  founded  on  history.  (Mariana,  II.  387.)  His 
Amor  por  Razon  de  Estado.  His  Como  han  de  ser  los 
Amigos.  His  character  and  merits. 

^  149.  JUAN  PEREZ  DE  MONTALVAN — the  immediate  disci- 
ple and  friend  of  Lope.  (N.  Ant.  Nov.  I.  757.)  b.  1603 


55 

at  Madrid.  Careful  education.  Licentiate  at  17.  Con- 
tended 1620  for  the  prizes,  and  gained  one.  (Lope  suelt. 
XL  501.  537,  &c.  XII.  424.)  Doctor  in  Divinity.  Officer 
of  the  Inquisition.  1624,  his  Orfeo  y  Euridice — a  Poem. 

1626,  singular  living  in  the  church.    (Para  Todos,  428.) 

1627,  his  Vida  y  Purgatorio   de  San   Patricio,  a  religious 
work.     In   1631  he  had   written  36  dramas  and  12  autos. 
(Para  Todos,   530.)      His  Panegyrick  on   Lope,    1635. 
(Obras  de  Lope,  XX.)     d.  1639. 

His  Orfeo,  1.  4to,  1624,  was  perhaps  Lope's  work.  (N. 
Anl.  Nov.  I.  757.)  Its  merit  as  a  poem.  Wrote  four  or 
five  plays  a  year.  (Para  Todos,  Prologo.)  His  Para  To- 
dos, 1.  4to.  1632.  Its  singular  character.  Nine  editions 
in  30  years.  His  Dramas.  El  Mariscalco  de  Biron.  El 
Zeloso  Estremeno,  from  one  of  Cervantes'  Tales.  No  hay 
Vida  como  Ja  Honra.  Los  JLmantes  de  Teruel.  Tradi- 
tion for  this  remarkable  story.  (Noticias  historicas  sobre 
los  Amantes  de  Teruel,  por  D.  Isidro  de  Antillon,  Madrid, 
1806.)  Poem  on  it  by  Juan  Yague  de  Salas.  (Latassa  Bib. 
Nueva  de  Aragon,  II.  232.)  Its  fine  dramatic  effect.  His 
Mas  constante  Muger,  written  in  four  weeks.  (Para  Todos, 
p.  508.)  De  un  Castigo  dos  Venganzas — its  popularity, 
(ib.  158.  169.)  The  great  honours  shown  to  JVo  hay  Vida 
como  la  Honra.  (Pellicer,  I.  202.)  He  is  attacked  by 
Quevedo  repeatedly  with  merciless  severity.  (Obras,  xij 
124.  163,  &EC.)  His  fame  and  merits. 

150.  In  1632,  there  were  seventy-six  writers  for  the  thea- 
tre in  Castille  alone  (Para  Todos,  543-546) — contempora- 
ries and  followers  of  Lope — nearly  every  one  of  whom 
survived  him.  Among  them,  besides  those  already  men- 
tioned, the  most  distinguished  were  ALVARO  DE  CUBILLO, 
ANTONIO  DE  MENDOZA,  RODERIGO  DE  HERKERA,  DIEGO 
XIMINEZ  ENCISO,  ANTONIO  DE  COELLO,  &c. 


56 

151.  Impulse  given  to  the  drama  by  the  death  of  Philip  III. 
and  the  accession  of  Philip  IV.    1621.      Increase  of  the 
actors  and  theatres.    (IV.  D.  Quixote,   Pel.  110.    note.) 
Theatres  in  the  palaces  and  royal  country  seats.  (Pellicer, 
Origen.  I.  189.)     Magnificent  exhibitions  and  representa- 
tions, (ib.  174.  135.  II.  146.)     Philip  IV.  writes  plays  and 
improvisates.  (ib.  163.) 

152.  PEDRO   CALDERON  DE    LA.  BARCA.      Comedias  del 
celebrepoeta  Pedro  Calderon  de  la  Barca,   fyc.  que  saca  a 
htz  D.  Juan  Fernandez  de  Jlpontes,  Madrid,  1760,  11.  4to. 
Life  prefixed,     b.  Madrid,  Jan.  1,  1601.     Educated  by  the 
Jesuits.     Studies  at  Salamanca.      Attached  to  the  couit. 
Contends  for  the  prizes  1620.  (Lope  Ob.suelt.XII.239.303. 
363.  384.  424.)    1622,  Poem  in  honour  of  Lope.     Serves 
as  a  soldier  in   Italy  in  1625,  and  afterwards  in  Flanders. 
1632,  known  on  the  stage.  (Para  Todos,  539.)     His  lyric- 
al poetry.     His  Poem  on  the  Deluge.     Called  to  court  in 
1636,  as  a  dramatic  author.     Knight  of  St.  lago   in   1637. 
Serves  against  the  Catalonian  rebellion.     Pension  in  1640. 
In  1651  enters  a  religious  house.     In  1653  chaplain  at  To- 
ledo.    In  1663  chaplain  of  honour  to  the  king,  and  priest 
of  *he  congregation  of  St.  Peter,  of  which  he  was  after- 
wards head.     His  fame  as  an  author  of  religious  dramas, 
d.  May  25,  1687. 

s  153.  His  songs,  ballads,  sonnets,  treatise  on  the  Dignity  of 
Painting — account  of  the  queen's  entry,  1640.  His  relig- 
ious work  De  los  quatro  novissimos,  &c.  &c. 

>  154.  IN  THE  DRAMA  he  wrote  100  Saynetes, — 100  Autos 
Sacramentales, —  200  Lofts — and  120  pieces  in  three  acts. 
They  began  to  be  printed  in  1637  in  collections.  Four 
volumes  printed  by  his  brother,  1640-1674.  In  1680  he 


57 

gave  the  Viceroy  of  Valencia,  a  list  of  111  Dramas  and 
70  Autos.  (Huerta  Teat.  Hesp.  Parte  Segundo.  Tom.  III. 
p.  iii — xxxiv.)  His  friend  Vera  Tassis  y  Villaroel  printed 
an  edit.  1685  ;  but  the  most  complete  is  that  of  1760  in 
17  vols.  4to.  containing  73  Autos — 74  Loas — and  107 
Dramas  in  three  acts,  which  are  all  we  now  possess  of  his 
dramatic  works.  Great  confusion  of  character  in  all  jhis 
different  works,  so  that  it  is  extremely  difficult  to  reduce 
them  to  classes.  His  Jlrmas  de  la  Hermosura.  (Come- 
dias,  I.  111.)  His  Cefalo  y  Procris.  (ib.  II.  1.)  His  Hijo  del 
Sol  Faeion.  (ib.  IV.  46.)  His  Fortunas  de  Andromeda  y 
Perseo.  (VIII.  1.)  His  Conde  Lucanor ;  Nina  de  Gomez 
Jlrrias,  &c. — His  Jlmor  despues  de  la  Muerte  ;  (Comedias, 
I.  350,  &c.)  its  poetical  and  tragical  character ;  founded  on 
the  rebellion  described  in  Mendoza  (Guerra  de  Granada.) 
El  Principe  Constants  (III.  Comedias,  1 93,  &zc.)  founded 
on  fact.  (Mariana,  II.  345.  370.  482.  Collec,aon  de 
livros  ineditos,  Ruy  de  Pina,  I.  290-294.)  Its  elevated 
and  poetical  character.  El  Medico  de  su  Honra  (VI.  1.) 
La  Dama  Duende.  (III.  47.)  JVo  hay  burlas  con  el  Amor. 
(IX.  426.)  Casa  con  dos  Puertas,  mala  es  de  guardar. 
(II.  185.)  La  Vanda  y  la  Flor.  (V.  50.)  El  Secreto  a 
Voces.  (VIII.  222.)  Mejor  estd  que  estaba.  (VIII.  366.) 
What  Calderon  effected  for  the  Spanish  Drama.  Laughed 
at  his  own  extravagance.  (IX.  450.)  His  great  talents  and 
singular  success. 

155.  AGUSTIN  MORETO.  (N.  Ant.  Nov.  I.  177. — Huerta, 
Teatro  Hespanol,  Parte  prirnera,  Tom.  HI.  p.  159.)  Pub- 
lished plays  1654 — entered  a  religious  house.  His  Dra- 
mas are  found  :  Primera  Parte  de  Comedias  de  D.  Agustin 
Moreto  y  Cabana.  1.  4to.  1677.  Segunda  Parte,  &c.  1676. 
Tercera  Parte,  &c.  1681 ;  and  separate  plays.  His  char- 
acter as  a  dramatist.  His  fools  and  buffoons.  El  Desden 
8 


58 

con  d  Desden.  (Primera  parte,  41.)  Moliere's  Princesse 
d'Elide.  J^opuede  ser  guardar  una  mujer.  (II.  1.)  El 
secreto  entre  dos  Amigos.  (III.  378.)  Imitator  both  of 
Lope  and  Calderon. 

156.  JUAN  BAUTISTADE  DIAMANTE.  (N.  Ant.  Nov.  I.  646.) 
Published,  Comedias   2.   4to.     1670-1674.      Became    a 
member  of  a  religious  house.    His  Reyna  Maria  Estuarda. 
(11.417.)    His   Cerco  de  Zamora.    (II.  206.)     His  De- 
fensor  del  Penon.  (I.  1.)  Merits. 

157.  FRANCISCO    DE   ROXAS.    (N.    Ant.    Nov.    I.    470. 
Huerta,  Teat.  Hesp.  Parte   Prim.  II.   3.)     Knight  of  St. 
Jago — native  of  Castille.     Comedias  de   D.  Francisco  de 
Roxas,  2.  4to.  1680.     Donde  hay  agravios  no  hay  Zelos. 
(I.  43.)  Scarron's  Jodelet  ou  le  Maitre  Valet.     Del  Rey 
abaxo,  ninguno.  (Not  published  in  the  collection.)     Char- 
acter. 

158.  ANTONIO   DE   SOLIS.    (Mayans  y  Siscar,   Cartas  I 
242,  sqq.)  b.  July  18,  1610,  at  Alcala.     Studied   at  Sala- 
manca.   Wrote  a  play  at  17.    Wrote  his  Gitanilla  (Come- 
dias  de  Solis.  4to.  1716.  p.  308.)  taken   from  the  tale  of 
Cervantes,  before    1632.    (Para  Todos,  544.)    1642,  his 
Orfeo  y  Euridice  (Comedias,  p.  68.)    Secretary   to  Philip 
IV.     His  Triunfos   de   Amor   y  Fortuna.    (ib.  1.)   1668, 
becomes   a  priest.     Died    very    poor    1686.    (cf.  ^  206.) 
Nine  dramas.  El  Amoral  Uso.  (Comedias,  107.)  Thomas 
Corneille's  L' Amour  a  la  Mode.    El  Alcazar  del  Secreto. 
(ib.  147.)    Las  Amazonas.    (ib.    188.)    Merits  as  a  Poet. 

$  159.  FRANCISCO  BANZES  CANDAMO.  (Life,  Poesias  Liricas 
de   D.   Francisco    Banzes    Candamo,    1.    18n»o.    1709,) 


59 

b.  1662.  popularity  and  fashion — pension — poverty — neg- 
lect— d.  1704.  Singular  fate  of  his  heroic  Poem  on  the 
Expedition  of  Charles  V.  to  Africa.  (Huerta,  Teat.  Parte 
tercera,  I.  196.)  His  lyrical  poetry.  His  Dramas— Poesias 
Comicas  de  D.  Francisco  Banzes  Candamo,  2.  4to.  1722. 
His  Esclavo  en  grilles  de  Oro.  (II.  179.)  His  Desgraciado 
Marias  (II.  436.)  Character. 

160.  ANTONIO  DE  ZAMORA — an  actor — secretary  in  the  office 
for  the  Indies.     Gentleman  of  the  Royal  household,  &c. 
(Pellicer,  II.  67.)  fl.  as  a  writer  1690.     Comedias  de  D. 
Antonio  de  Zamora,  2.  4to.  1744.     JVo  ay  dueda  que  no 
se  pague  y  combidado  de  Piedra.  (II.  267.)  from  Tirso  de 
Molina.     His  merits,. 

161.  JOSEPH  DE  CAnizAREs,  fl.  1700.  (Huerta  Teat.  Hesp. 
Parte  primera,   II.  347.)    Twenty  two  separate  plays — 
compounded  out  of  elder  dramas.     His  claims. 

162.  Other  writers  since  1640 — ALARCON,  CANCER,  MATOS 
FRAGOSO,  FERNANDEZ  DE  LEON,  LOBERA,  &zc.  &c. 

163.  Vast  number  of  dramas  in  this  class  produced  between 
the  appearance  of  Lope  and  the  beginning  of  the  xviii. 
century.     Their  peculiar  characteristics,  and  remarkably 
national  tone  and  spirit. 

B.     COMEDIAS  DE  FIGURON. 

164.  Their  distinctive  claims. — MORETO.  Defuera  vendra, 
quien  de  casa  nos  cchara.    La  Tia  y  la  Sobrina,  1654. 
(Comedias   de  Moreto,  I.  83.)    His  Lindo  Don  Diego. 
(Comedias, II.)  ROXAS.  Entre  Bobos  anda  el  Juego,*1680. 
(Comedias  de  Roxas,  II.  42.)    Hoz.    El   Castigo  de  la 
Miseria.    (Huerta   Teat.    Hesp.    Parte    primera,   I.    3.) 


GO 

% 

SOLIS.  Un  Bobo  hace  ciento.  (Comediasde  Soils,  p.  263.) 
El  Diablo  Predicador  written  by  DAMIANO  CORNEJO, 
(I.  Pellicer,  184,  note.)  Its  great  success.  ZAMORA.  El 
hechizado  por  fuerza.  (Comedias  de  Zamora,  I.  99.) 
CAIHZARES.  Domine  JLucas.  General  remarks  on  the 
Figuron  Dramas. 

C.     LOAS,  ENTREMESES,  SAYNETES,  XACARAS, 
ZARABANDAS,  AND  ZARZUELAS. 

165.  LOAS.    Their  characteristics.      Bartolomc  Torres  de 
Naharro    (cf.  ^  32.)  used  Loas.     Lope  de  Vega.    (Obras 
suelt.   XVIII.  1.  256.  107.  212,  &c.)   Tirso   de  Molina, 
1624.    (Cigarrales    de   Toledo,    100.    403.    495.)     Luis 
Quinones  de  Benevente   1645.  (Joco-Seria,  Burlas  Veras, 

I.  12mo.    1653.)    Six   loas   of  great   spirit.       Calderon, 
1650-1680.    (Autos  passim,    and  especially  II.  134.  III. 
365,  &c.)  Soils.  (Comedias,  p.  263.)   Candamo.  (Come- 
dias, I.  50.) 

166.  ENTREMESES   and  SAYNETES  (Joco-seria  &c.  f.  5.  b.) 
Remains  of  the  ancient  popular  theatre  of  the  time   of 
Lope  de  Rueda.  (Discurso  critico  sobre  las  comedias,  4to. 
1750.  p.  107.  written  by  Thomas  Zavaleta,  D.  Quixote, 
Pellicer  I.  clxxvi.)  Lope  de  Vega's  account  of  them.  (Obras 
suelt.  IV.  407.)    Used  as  Entreraeses  from    about  1590. 
Cervantes  eight,   1615.  (Comedias  2.  8vo.)    Quinones  y 
Benevente,  1645.  (Joco-Seria  &c.  I.    12mo.  1653.)   Cal- 
deron, Moreto,  &tc.    Solis,  (Comedias,  p.  54.)     Candamo. 
^Cornedias,  I.  36.  II.  41.)     Canizares,    1723.    (Pellicer, 

II.  42.) 


61 

167.  XACARAS, — known  from  the  time  of  Lope  de  Rueda. 
(Rojas,  Viage,  1614,  48.  b.)  Specimens — Joco-seria,  ff.  35. 
75.  109.  240.    Cubillo,  Enano  de  las  Musas,  4to.  1654. 
139. 

168.  ZARABANDAS,  1588-1630.  (D.  Quixote,  Ed.  Pellicer, 
I.  cliii.)    Don  Alonso-El  Caballero,  &c.    (ib.  V.    101.) 
Their  general  character  and  purpose.    (Pellicer,  Origen. 

I.  102. 

169.  ZARZUELAS.      Their  characteristics.     Lope's  Selva 
sin  Amor,  1639.    (Obras  suelt.  I.  xiv.  225.)     Benevente, 
twenty  four,    1645.    (Joco-seria,  passim.)  Name  given  to 
them.  (Luzan,  Arte  poetica,  II.  33.)  Candamo  writes  them. 
(Comedias,  IV.  150.  J.  177.)  Establishment  of  the  Italian 
Opera,  1705  (Pellicer,  II.  268,)  supersedes  them. 

170.  Extremely  POPULAR  CHARACTER  OF  THE  SPANISH 
THEATRE.    Its  actors,  and  their  Autor  or  head.  (II.  Luzan, 
13.)     Play  bills  posted  by  the  autor.    (Joco-seria,  78.) 
Performances,   morning  and   afternoon.    (I.  Pellicer,  83. 
220.  225.  254.  263.)     Open  court  yard.    (ib.  254.  Luzan, 

II.  14.)  Value  of  seats.  (I.  Pellicer,  255.)  The  Loa,  how 
given.  (Joco-seria,  81.  43.  117.  153.)    Play,  Entremeses 
and  Ballads,  with  the  Saynete.    (I.  Pellicer,  277.)    Cos- 
tumes, (ib.  252.)  Women,  (ib.  255.)    Officers  of  Justice. 
{Huerta,  Parte  segunda,  I.  viii.)    Audiences,  from   1600, 
rude.  (Pellicer,  I.  211,  254.     Cervantes,  Prologo.    Lope, 
Prologo,  XXIV.)  How  entirely  national  and  popular  these 
forms  of  the  drama  were  made. 


D.  •  AUTOS  SACKAMKNTALES  AND  COMEDIAS  DE 
SANTOS. 

171.  AUTOS  SACRAMENTALES.  Origin.    (^  26,  27.)  Muni- 
cipal regulation  of  15C8.  (Jovellanos,   diversiones  publicas, 
1812,  p.  53.)    1600.    (D.  Quixote,  parte  I.  c.  12.)    Their 
religious  character  and  importance.  (Pellicer,  I.  257-264.) 
Lope  de  Vega,  1598.  (Obras  sueltas,  V.  144.)  Luis  Vdtz 
de  Guebara — Antonio  Mir  a  de  Mescua — Montalvan,  1632, 
(Para  Todos,  p.  343.  325.)    Coarse   Entremeses  added  to 
them.    (Lope   Obr.   suelt.   xviii.)    Tirso   de  Molina;  his 
Deleytar  Aprovechando  2.  4to.  1765,   first  printed    1635  ; 
its  plan  and  character;    its  strange  Autos.  (I.  161.  II.  297. 
Attempt  to  restrict  autos.    (Don   Quixote,    Pellicer,   IV. 
105.  n.)    Fails.    Calderori's  unrivalled   success  in  Autos. 
(Autos  Sacramentales  de  P.  Calderon  de  la  Barca,  6.  4to. 
Madrid,  1759.)  Seventy  three.     His  Divino    Orfeo.    (IV. 
236.)   Candamo.    Solis.  Inez  de  la  Cruz,  1689.    (Poemas 
de  Sor.  Inez  de  la  Cruz,   3.  4to.   1725.)      Her   Divino 
Narciso.  (I.  337.)     The   popularity  of  the  Autos.     Cal- 
deron's  pay  for  them.     Solis — acted  all  over  the  country 
(D.  Quix.  II.  c.  11.)   by  strolling  players.  (Rojas,  Viage, 
51.  b.) — Not  abolished  till   1765  by  a  decree  of  Charles 
HI.  (Huerta,  Obras,  II.  xliii.) 

172.  COMEDIAS  DE   SANTOS.     Their  origin.     Attempt  to 
suppress    the    theatre    1587.     (Pellicer   1.    119.)     Lope. 
$  128.)   Petition  of  1598,  and  conference  of  1600.  (Pel- 
licer, I.  122.    151.)    characteristics  of  the   comedias  de 
santos.     Luis   Vdtz   de  Guebara,   1615.     La   Corte  del 
Demonio.     (Comedias  nuevas,  1667,   1.  4to.)    Los   Tres 
Portentos  de  Dios.     Guillen   de    Castro,    fl.   1620.     His 
Maravillas   de   BabUonia.    (Flor   de   Comedias.    1.  4to. 


63 

1652.  Montalvan,  1630.  His  Principe  Don  Carlos,  cf. 
Story  in  Llorente,  III.  136.  142,  &c.  Success  of  such 
Dramas,  1644-1649.  (Pellicer,  I.  218.  221.  II.  135. 
D.  Quixote,  IV.  110.  note.)  Moreto,  1650.  Diamante, 
1670.  Roxas,  1680.  Cubillo.  His  Triunfos  de  San 
Miguel.  (Enano  de  las  Musas,  p.  101.)  Zamora,  1690. 
Canizares.  His  A  qual  mejor,  circa  1611.  Such  pieces 
represented  also  in  the  convents  and  churches.  (Roxas, 
Viage,  49,  a. — Pellicer,  I.  226.)  Their  character. 

173.  IMPORTANCE  OF  THE  NATIONAL  SPANISH  DRAMA. 
State  of  the  publick  Theatres  1590.  1632.  1681.  (Don 
Quixote,  Ed.  Pel.  IV.  110.  Roxas,  51.  Pellicer,  I.  185. 
226  )  Number  of  authors  and  dramas  immense.  Popu- 
lar character  and  consequence,  1605.  (D.  Quixote,  I. 
c.  48.)  Still  greater,  1615.  (Cervantes'  Comedias,  Pro- 
logo.)  Every  class  had  its  plays,  1617.  (Villegas  Ero- 
ticas,  1617.  4to.  II.  28.)  State  at  the  time  Roxas  travel- 
led. List  of  writers  by  Lope  de  Vega,  1630.  (Obras, 
I.  1-221.)  by  Montalvan,  1632.  (Para  Todos,  509-548.) 
and  by  Antonio  about  1660.  (Bib.  Nov.  I.  II.)  Little 
effect  of  patronage  or  restraint  on  such  a  theatre.  Philip 
IV.  wrote  plays  but  did  not  affect  the  stage.  His  Dar  la 
vida  por  su  dama.  The  purely  national  character  of  the 
Spanish  Drama.  Causes  of  its  decline. 


III.       LYRIC  POETRY. 

174.  Early  lyrical  tendency  of  Spanish  Poetry.  Its  preva- 
lence in  the  time  of  Charles  V. —  George  Montemayor. 
(Cancionero  de  George  Montemayor,  I.  12mo.  1588.) 
Pedro  de  Padilla.  (Thesoro  de  Varias  Poesias.  (I.  12mo. 
1587.)  Christoval  de  Castillejo.  (Coleccion  de  Fernandez. 


64 

Xll.  XIII.)  Anastasio  de  Pantahon.  (Obras,  I.  12mo. 
1648.  cf.  El  Fenix  de  Pellicer,  1630.  f.  190.)  Francisco 
de  Figueroa.  (Col.  de  Fernandez,  xx.)  When  these 
writers  flourished.  Superficial  character  of  their  poetry. 
Its  general  effect. 

175.  Herrera  and  Luis  de  Leon.  cf.  ^  91-95. 

176.  THE   TWO  ARGENSOLAS.     LUPERCIO   LEONARDO    Y 
ARGENSOLA,  b.  1565.    (Fernandez   Col.  I.    Latassa,   Bib. 
Nuev,  II.  461.)     His   Tragedies,  ^   36.     Historiographer 
of  Aragon.     Secretary  to  Count  de   Lemos.    d.   1613. — 
BARTOLOMC  LEONARDO  Y  ARGENSOLA,  b.  1566.    (Latassa, 
Bib.  Nuev.  II.  143.)  Enters  the  church.' At  Naples.  Histori- 
ographer, &tc.   d.  1631.    Similarity  of  their  lives  and  char- 
acters.    Remarkable  resemblance  of  their  works.    (Rimas 
de  Lupercio  y  del  Dotor  Bartolome   Leonardo  de  Argen- 
sola,   4to.   1634.)      Their  lyrical  rank.     Their  imitation 
of  Horace.     Their  character. 

177.  JUAN   DE  JAUREGUI,    b.   circa   1570.    (Sedano    IX. 
xxii.)    Talent  for  painting  as  well  as  poetry.    (Lope,  Obr. 
suelt.  IV.  503.)     At  Rome.     His  translation  of  Tasso's 
Amyntas,    1607.     (Signorelli,    VI.    13.)     His  portrait   of 
Cervantes,  1613.    (Novelas  de  Cervantes,  Prologo.)    His 
works,  1618.     His  Orfeo.  (Orfeo  de  D.  Juan  de  Jauregui, 
I.  4to.  1624.)  Died  1640.     His  translation  of  Lucan  first 
published,  1684.  (Fernandez  Col.  VII.  VIII.)   His  works. 
Rimas  de  D.  Juan  de  Jauregui,  I.  4to.  1618.     Ode  on  the 
death  of  Queen  Margaret,  &tc.  Sic.    Character. 

178.  ESTEBAN    MANUEL  DE  VILLEGAS.    cf.    his  Life  by 
Vicente  de  los  Rios   (Guarinos,  V.  19.)    prefixed  to  his 
Eroticas,  &c.   Madrid,    1774.   2.  8vo.    b.  Naxera,    1596. 


65 

Educated  a  lawyer  at  Madrid  and  Salamanca.  Abandons 
letters  early.  His  learned  works.  Died  poor  1609.  His 
poetry — Eroticas  o  Amatorias  de  D.  Esteban  Manuel  de 
f^illegas,  2.  4to.  1617.  (cf.  a  notice  of  him  by  C.  M. 
Wieland  in  the  Deutsche  Merkur,  1774.  V.  237,  sqq.) 
Translations  of  Horace  and  Anacreon.  His  Delicias. 
Elegies.  Idyls.  Translations  from  Theocritus.  His  Lati- 
nas,  attempt  to  introduce  the  ancient  metres,  (cf.  Sedano, 
VI.  53.)  Bermudez,  1577.  His  exquisite  imitations  of 
Anacreon  in  the  Delicias. 

179.  Prevalence,  all  over  the  world,  of  a  false  taste.     Tn 
England,  Euphuism.     In  France,  the  Pleiades.     In  Italy, 
the  Marinisti.     In  Spain,  Cultismo. 

180.  Luis  DE  GONGORA.  b.  Cordova,  1561.  (Sedano,  VII. 
xv-xxv.)    Salamanca.    Mentioned    by    Cervantes,    1584. 
(Galatea,  11.  284.)  Becomes  a  priest.  Goes  to  court,  1605. 
(Pellicer,  Vida  de  Cervantes,  p.  cxiv.)     Duke  de   Lerma. 
Count  Duke  Olivarez.  d.  1627. — Simplicity  of  his  early 
poetry.     Lope's  praise  of  him.    (Obr.    suelt.    IV.  465.) 
Corruption   of  his  taste.     His  heroic  odes.     (Obras  de  D. 
Luis  de   Gongora,  &c.  I.  4to.  1654.  ff.  39,  &c.)    Ode  on 
the   Armada.     His  Polifemo.     His   Soledades,    the   most 
unintelligible    Cultismo.       Lope   attacks   his   affectations. 
(Obras  suelt.  IV.  459,  &c.)    Quevedo's  bitter  satire.  (Obr. 
1.  443.  VIII.  82.)      Gongora  writes  much  in  reply,  which 
has  never  been  printed.    (Royal  library,  Madrid,  Est.  M. 
Cod.   132.  4*o.)    Lope's  play  of  Jlmistad  y   Obligation. 
His  Bizarrias  de  Belisa  ;  (Obr.  suelt.  ix.  342.)      Zarate's 
Prtsumida   y    Hermosa ; — Preface  to   Montalvan's  Or/eo, 
1624.      Jauregui,    1628.    (Flogel,   II.  303.)     Quevedo's 
Bachiller  de  la  Torre  and  his  edition  of  Luis  de   Leon's 
poetry,  1631.  (^  95.  and  135.)    All  attack   this   Cultismo, 

9 


66 

which  was,  however,  not  entirely  crushed.  Manuel  de 
Mello,  Count  Villamediana,  Paravisino,  Arteaga,  &c.  Com- 
mentaries on  Gongora  to  render  him  intelligible.  (Para 
Todos,  515.  N.  Ant.  Nov.  I,  812.  Velazquez,  Dieze, 
252.)  Calderon's  satire.  *;ix.  Com.  432.  446.)  Le  Sage's 
fine  character  of  Gongora  and  his  school  of  Cultismo.  (Gil 
Bias,  Liv.  vii.  c.  13.) 

181.  Return  to  a  simpler  taste.     FRANCISCO  DE  RIOJAS 
d.  1659.    (Rimas,  Col.  de  Fernandez,  xviii.)    His  Ode  on 
Italica.     GERONIMO  DE   CANCER.    (Obras,  I.  4to.    1701. 
Latassa,  Bib.  Nuev.  III.   224.) — FRANCISCO  DE  BORJA  Y 
ESQ.UILACHE.    (Obras    en    verso,   I.    4to.    1658.)   SOLIS. 
INES  DE  LA  CRUZ.   (Poemas,  3.  4to.  1725.)     Count  BER- 
NARDINO DE  REBOLLEDO.   (Obras,  4.  8vo.   1778.  Sedano, 
V.  xxii.)  FRANCISCO  BANCES  Y  CANDAMO.  (Obras  liricas. 
I.  18mo.  1729.  ^  159  ) 

182.  General  remarks  on  the  three  periods  of  Spanish 
lyrical  poetry. 

IV.     SATIRICAL  POETRY. 

183.  Little  success  in  Spain.     Ballads  of  a  satirical  char- 
acter.    Boscan's  Epistles,  ^  72.     Mendoza,  ^  88.  Cervan- 
tes, ^  104.    The  Argensolas,  ^  175.    Gregorio  de  Morillo^ 
1600.  (Sedano,  II.  xii.  i.  91,  &tc  )  Andres  Rey  de  Art ieda, 
1605.  (Ximeno,  1.  262.      Discursos  y  Epistolas  de  Arte- 
midoro,  4to.  1605.  ff.  54-91.)     Quevedo.  §  134.     Esqui- 
lache,  fc  180.   (Obras    187-228.)    Horatian.    Terza  rima. 
Philosophical.   Failure  of  satire  in  Spain. 


67 


V.       DIDACTIC  POETRY. 

184.  Why  little.  Alonso  el  Sabio,  ^  7.  Marques  de 
Saotillana,  fy  62.  Juan  de  la  Cueva,  1605,  Arte  Poetica. 
$  35.  Sedano,  VIII.  1-68.)  Pablo  de  Cespedes.  d.  1608. 
Arte  de  Pintar.  (Fenandez,  Col.  XVIII.  Diccionario  de 
Cean,  I.  316-325.)  Lope  de  Vega,  Arte  Poetica.  (Obras 
IV.)  Rebolledo,  fy  181.  Selva  militar  y  politica.  (Obras  II.) 
1661.  Its  disappearance. 


VI.       BUCOLIC  POETRY. 

185.  General  remarks  on  bucolic  poetry  in  Switzerland, 
Spain  and  Portugal.  Pastoral  Ballads.  Poetry  of  the 
cancioneros.  First  dramatic  poetry,  ^  29,  31.  Boscan, 
^  72.  Garcilasso,  ^  73.  Pedro  de  Padilla,  §  178.  Luis 
de  Leon,  §  95.  Francisco  de  Saa  de  Miranda,  d.  1558. 
(Obras  de  Doctor  F.  Sa  de  Miranda.  Lisboa,  1784.  2. 
12mo.  Barbosa,  Bib.  Lusit.  Fol.  II.  251.)  Villegas. 
Lope,  Medina  de  Medinilla,  Quevedo,  Vicente  Espinel, 
Esquilache,  Rebolledo,  Ines  de  la  Cruz}  &c.  None 
equalled  Garcilasso. 


VII.       BALLADS. 

186.  The  old  ballad  poetry  (^  13-20J  never  neglected.  Its 
great  popularity  and  prevalence.  Its  character.  Pedro  de 
Padilla,  1580-1590.  (Thesoro,  337-383.  Velazquez 
Dieze,  194,  &c.)  Perez  de  Hita,  1604.  (Guerras  de 
Granada,  passim.)  Lope.  Quevedo  Gongora.  Esqui" 
lache.  Rebolledo.  Solisf  Candamo. — Maintains  its  ancient 
rank. 


V  111.       ROMANTIC  FICTION. 

§  187    Romances  of  Chivalry,  §  21-25.     Changed  manners 
and  feelings  produce  different  forms  of  fiction, 

A      PASTORAL  ROMANCE. 

§  188  GEORGE  DE  MONTEMAYOR  d.  1561.  (Barbosa,  Bib. 
Lusit.  fol.  II.  509.)  His  Diana  Enamorada,  I.  12mo. 
1614.  (first  printed  1545.)  Its  original  and  singular 
character.  Jllonso  Perez.  Segunda  Parte  de  la  Diana 
&c.  I.  12mo.  1014.  (first  published  1564.)  Gil  Polo, 
Diana  Enamorada,  &tc.  I.  12mo.  1802.  (first  published 
1564  )  Don  Quixote,  Parte  I.  c.  6. 

§  189.  Luis  GALVEZ  DE  MANTALVO.  El  Pastor  de  Filida. 
1.  12mo.  1792.  (first  edit.  1582.)  Lopez  de  Enciso. 
Desengano  de  Celos.  1.  12mo.  1586  Cervantes,  §  100. 
Lope.  §  115. — ( hristoval  Suarez  de  Figueroa,  1.  12mo. 
1781.  (first  edit.  1609.)  Gonzalo  de  Cespedes.  Poema 
tragico  del  Espanol  Gerardo,  1.  4to.  1788.  (first  edit. 
1625.)  Gonzalo  de  Saavedra.  Pastores  del  Betis,  1.  4to. 
1633 

§  190.  Great  popularity  of  pastoral  romance  soon  after 
1600  (D.  Quixote,  Ed  Pel.  I.  63.)  Its  gradual  decay 
and  total  disappearance. 

B.     ROMANCES  IN  THE  GUSTO  PICARESCO. 

^191.  Their  national  character.  Mendoza's  Lazarillo  de 
Tormes,  §  86.  jWateo  Meman,  temp.  Philip  II.  His  life 
at  court.  Writes  Guzman  d1  Jllfarache,  1.  4to.  1723, 
(first  printed  1599.)  Its  character.  Translated  by  Le 
Sage.  Ben  Jonson's  lines  on  it. 


69 

192.  ANDREAS  PEKEZ,  a  Dominican  monk.  Cartas  por 
Mayans  j  Siscar,  II.  312.  La  Picara  Montanesa  Justina, 
1.  4to.  1735,  (first  printed  1605.) 

193  VICENTE  DE  ESPINEL.  b.  1544.  Friend  of  Lope 
and  Cervantes.  His  skill  in  musick.  (Lope  Obr.  suelt.  VII. 
64.)  Invents  Spanish  decimas.  d.  1634.  (Sedano  II. 
xviii.)  His  Vida  del  Escudero  Marcos  de  Obregon,  1.4to. 
1618.  History  of  the  life  of  Squire  Marcos  de  Obregon, 
translated  by  Algernon  Langton,  2.  8vo.  Lond.  1816.  Its 
character. 

194.  Quevedo's  Vida  del  Gran  Tacano,  §  136 Jllonso  At 

Castillo  Solorzano,  fl.  circa  1620.     His  Garduna  de  Sevil- 
la,    1.    12mo.   1734,  (first  printed   1634.)— Luis  Velez  de. 
Guevara,  §  143.     His  Diablo   Cojuelo,    1.   12mo.    (798, 
(first  printed  1641.)      Le  Sage's  Diable  Boiteux. — Alonso 
de  Solas  Barbadillo. — Jeronirno  de  Alcala  Taner,  &tc. 

195.  Remarks  on   the  picaresque  romances.      Le  Sage's 
Gil  Bias.     Fielding's  Jonathan  Wilde  the  Great.     Their 
peculiar  character 

C      HISTORICAL  ROMANCES. 

196.  Small   number  of  Spanish  romances  founded  on  his- 
tory.    Historia  de  las  Guerras  civiles  de  Granada,  fyc.  por 
Ginez  Perez  de  Hita,  1.  12mo.  1757,  (first  published  1605.) 
Its  romantic  and   poetical  character.     Another  work  under 
the  same  title,  founded  on  the  rebellion  of  1568,  makes  a 
second  volume  of  inferior  merit.      Translations  from  Cal- 
prenede,  Scudery,  &c.     Hisloria  de  Marco  Jlntonio  y  Cleo- 
patra, fyc.por  Monso  de  Castillo  Solorzano,  1.  12mo.  1736, 
(first  printed  1640.)     Other  similar  attempts. 


70 
D.     TALES. 

197.  Imitated  from  the  Italian.      Timoneda,  §  74.     Cer- 
vantes, §  103.      Lope  de  Vega,  §  121.     Camerino,    1623. 
(Novelas  amorosas,  1 .  4to.)     Maria  de   Zayas.  (Novelas, 
1.  4to.  1638.      Novelas  y  Saraos,    1.  4to.  164'.)     Alonso 
de  Castillo   Solorzano.   (Quinta  de  Laura,  1.  12mo.   1649, 
and  many   others.)      Mariana   de   Carvajal  y   Saavedra. 
(Novelas,  &c.  1668.  1.  4to.) 

198.  GENERAL   REMARKS   on   Spanish    romantic   fiction. 
Why  it  has  had  so  little  success  generally,  and  what  circum- 
stances favoured  its  success  in  a  few  instances. 


IX.    ELOQUENCE. 

199.  Gradual  abolition  of  the  Cortes  leaves  no  place  for 
civil  eloquence.  Eloquence  of  the  pulpit  much  injured  by 
the  peculiar  character  of  the  Catholic  religion  in  Spain. 
Luis  de  Leon,  (§  94)  1584. — Luii  de  Granada,  died  1588 
(N.  Ant.  Bib.  Nov.  II.  38.)  Head  of  the  Dominicans. 
His  treatise  on  pulpit  eloquence,  1576.  Fourteen  of  his 
discourses  printed,  1595.  Their  character. 


X.    EPISTOLARY  CORRESPONDENCE. 

200  Cibdareal,  §  67.  Pulgar,  §  69.  Philip  II.  and  the 
Duke,  of  Mva,  1568.  (Cartas  recogidas  por  D.  Giegorio 
Mayans  y  Siscar,  I.  63.  II.  7.  9.)  Santa  Teresa  de  Jesus, 
1570-1580.  (Cartas  de  Sta.  Teresa,  &c.  4.  4 to.  1793.) 
Antonio  Perez,  circa  1598  (Capmany,  III.  509-589.) 
Gongora,  1620.  (Mayans  y  Siscar,  I.  124.)  Jlrgensola, 


71 


1625.— Quevedo,  1640.— Antonio,  1663.  (ib  I.  128.  145- 
155.161-233.)  Soli*,  1680.  (ib.  I.  257-336.)  Why  we 
have  so  little  natural  and  easy  epistolary  correspondence  in 
Spanish. 


XI.    HISTORY. 

201 .  Guevara,  §  80.      PERO  MEXIA,  Historia  Imperial  y 
Cesarea,  1  fol.  1561.     Its  character.     Florian  de  Ocampo 
and  Ambrosia  de  Morales,  1544-1578.     Mendoza,  §90. 

202.  JUAN  DE  MARIAN  A,  b.  1537.   Jesuit.    Travels,  Rome. 
Sicily.     Paris.     1574,  established  at  Toledo.     Died  1623. 
Hisloria  General  de  Espana  por  Juan  de  Mariana,  ,l4ma. 
impresion,  2  fol.  Madrid,    1780,  (originally   published   in 
Latin,  1592-1605.     Translated  and  printed  by  himself  in 
Spanish,  at  different  times,  up  to  1623.)     Extends  from 
the  first  peopling  of  Spain  to  1516,  with  a  compressed  ab- 
stract of  events  to  1612.      Its  republican  spirit.     Its  style. 
Its  general  character. 

203.  BARTOLOMB  LEONARDO  Y  ARGENSOLA,  §  175.     His 
Conquista  de  las  Islas  Malucas,   1.  fol.  1609.     History  of 
the  Islands  from  their  discovery  to  1607.     Its  merits. 

204.  ANTONIO  DE  HERRERA,  historiographer  of  the  Indias 
from  1596.    (Muiioz,  Nuevo  Mundo,  1.  30.)     His  Historia 
General  de  las  Indias  Occidentales,  4.  fol.  1601-1615.    His 
general  views.     His  merits. 

205.  GARCILASSO  DE   LA  VEGA,  the  Inca.     b.  1539.     His 
European  education  and  knowledge,      d    Cordova,  1616. 
His  Historia  de  la  Florida,  4.  IBmo    1803,  (first  printed  in 


72 

1609  His  Historia  General  del  Peru,  13.  18mo.  1800, 
(first  printed  IC17.)  Their  character.  (Cf.  Robertson's 
America,  1817.  III.  396.) 

§206.  ANTONIO  DE  SOLIS,  ^  158. — 1667,  becomes  a  priest 
and  renounces  poetry.  Devotes  himself  to  his  duties  as 
Historiographer  of  the  Indies.  His  Historia  de  la  Conquis- 
ta  de  Mexico,  3.  12mo.  1758,  (first  printed  1684.)  Begins 
with  the  appointment  of  Cortes  and  comes  down  to  the 
taking  of  Mexico,  1521.  Its  epic  completeness.  Its  fine 
style.  The  poverty  of  Solis.  (Mayans  y  Siscar,  Cartas  I 
288.  324.)  dies  1686 

§  207.  General  remarks  on  Spanish  historical  compositions. 


XII.    DIDACTIC  PROSE. 

§  208.  Characteristics  that  bring  didactic  prose  into  elegant 
literature. 

$209.  Luis  DE  GRANADA,  b.  1504.  d.  1588.  (N.  Ant. 
Bib.  Nov.  11.  38.)  His  Guia  de  Pecadores,  2.  8vo.  1781, 
(first  printed  1556.)  Condemned  by  the  Inquisition.  (Llo- 
rente,  III.  123.)  The  condemnation  remarkably  reversed. 
(Guia,  &c.  I.  xxvii.)  Its  character. 

§  210.  JUAN  DE  LA  CRUZ.  b.  1542.  d.  1591.  Beatified 
1674.  Obras  de  S.  Juan  de  la  Cruz,  1.  fol.  1703.  His 
Subida  al  Monte  Carmel,  and  Noche  escura  del  Alma,  first 
printed  1581.  Mysticism. 

§  211.  STA.  TERESA  »E  JESUS,  d.  1582.  Obras  de  Sta.  Te- 
resa de  Jesus,  2.  4to.  1793.  Her  Camino  de  la  Perfec- 
cion.  Her  Castillo  Interior.  Character  of  her  works. 


73 

Persecuted  by  the  Inquisition  with  Juan  de  la  Cruz.  (III. 
Llorente,  116-123.) 

212.  LUCAS  GR.VCIAN   DANTISCO.      His  Galateo  Espanol, 
1.  I2mo.  1664,   first  printed  1599.      AGUSTIN  DE  ROXAS. 
Pellicer,  II.  1-13.)     His  Viage  entretenido,  1.  12mo,  1614, 
first  printed  1611       LORENZO  GRACIAN,  d.  1658,  introduc- 
ed cultismo  into  prose.     Obras  de  Lorenzo  Gracian,  2.  4to. 
1669.     His  Criticon.     His  Discrete.    His  Agudeza  y  Arte 
de  Ingenio. 

213.  Difficulties  encountered  by  elegant   didactic  prose  in 
Spain.     Its  decline  and  disappearance. 

214.  GENERAL  REMARKS  on  the  state  of  literature  in  Spain 
between  the  abdication  of  Charles  V.  and  the  accession  of 
the  Bourbons.     Effects  produced  on  it  by  the  state  of  re- 
ligion— the  ecclesiastical  powers — the  Inquisition — and  the 
government.     Causes  of  its  gradual  decay.     Its  condition 
during  the  reign  of  Charles  II.  and  at  the  time  of  his  death. 


10 


EPOCH  THIRD. 

THE  LITERATURE,    THAT    HAS    EXISTED    IN  SPAIN  SINCE  THE 
ACCESSION  OF  THE  BOURBONS. 

FROM  ABOUT  1700  TO  THE  PRESENT  TIME. 


THIRD  EPOCH. 


215.  CHANGE  in  the  character  of  Spanish  literature.  It 
comes  more  under  the  influence  of  the  court,  and  its  suc- 
cess depends,  in  a  considerable  degree,  on  the  character  of 
the  sovereigns,  who,  at  different  times,  fill  the  throne.  Their 
reigns,  therefore,  form  the  most  appropriate  divisions,  under 
which  to  examine  it  since  1700. 


PHILIP  V.  1700-1746. 

^  216.  Intrigues  for  the  succession.  Charles  II.  dies  Nov.  3, 
1700.  His  will.  Opposition  to  it.  War  of  the  succes- 
sion. Treaty  of  Utrecht,  1713.  (Coxe's  Memoirs  of  the 
Bourbon  Kings  of  Spain,  I.  II.  111.  8vo.)  Effect  of  these 
troubles  on  Spanish  literature. 

§  217.  Philip  endeavours  to  patronize  letters.  Marquis  de 
Villena.  His  plan  for  a  grand  academy.  (Diccion.  de 
la  Academia,  I.  1726.  ix.-xli.  Guarinos,  I»  13.)  The 
REAL  ACADEMIA  ESPAHOLA,  founded  Nov.  3,  1714,  for 
the  improvement  and  cultivation  of  the  Spanish  language 
only. 

^  218.  Dictionary  undertaken.  Covarruvias,  Tesoro  de  la 
Lengua  Castellana,  fol.  1611  and  1672.  Etymological. 
DICCIONARIO  DE  LA  ACADEMIA,  6.  Folios,  1726-1739. 


78 

Its  merits  and  defects.  Preface  on  Orthography.  Enlarg- 
ed and  made  a  separate  work,  1742.  ORTOGRAFIA  DE  LA 
LENGUA  CASTELLANA,  &ic.  octava  edicion,  1.  12mo.  1815. 
Abridgment  of  the  Dictionary  in  one  folio.  First  edition, 
1780;  fifth  edition,  1817.  Its  value. 

219.  Grammar  undertaken,  1740      Second  attempt,  1767. 
First  printed  1771.      GRAMATICA  DE  LA  LENGUA  CASTEL- 
LANA, &zc.  quarta  edicion,  1.  12mo.  1796.     Its  merits. 

220.  The  Academy   prints  different  works — Don  Quixote 
1782,  &c.     Garces  Elegancia  y  Fuerza  de  la  Lengua  Cas- 
tellana,   2.   Svo.   1791,   &c.      Prizes  for  eloquence  from 
1777. — Advantages  derived  from  the  Academy. 

221.  ACADEMIA  REAL  DE  LA  HisTORiA.     Its  origin.     Roy- 
al  patent,  1738.      What   it   has   done.   (Memorias   de  la 
Academia,  I.   Proem.  IV.  Proem.— Guarinos,  I.  63-71.) 

222.  JDiario  de  los  Letteratos  begun  1737.      The  Aduana 
Critica>  1739,  fac.     Soon  fail. 

223.  Small  effect  produced  by   the  patronage  and  encour- 
agement of  letters  by  Philip  V.  on  individual  authors. 

224.  VICENTE  BACALLAR  Y  SANNA,  Marquis  of  San.  Fe- 
lipe,    b.  in  Sardinia  circa  1680.     Patronised  by  Philip  V. 
Military  command.      Embassy  to  Holland,      dies   1729. 
His  Commentaries  de  la  Guerra  de  Espana  y  Historia  de 
su  Rey  Felipe  V.  2.  4to.  1729.     Its  character. 

225.  IGNACIO  DE  LUZAN.     b.  Zaragoza,    1702.    (Latassa, 
Bib.  Nueva,  V.  12-24.)     Lived  in   Italy   and   Sicily    18 
years.     His  studies  at  Bologna,  Naples,  and  Palermo.    His 


79 

intimacy  with  Maffei  and  Metastasio.  Familiarity  with 
French.  Returns  to  Spain  1733.  His  translations.  (Se- 
dano,  II.  IV.)  Fits  dramas  of  Maffei,  Metastasio,  and 
Lachaussee  to  the  Spanish  stage.  His  Virtud  coronada, 
1742.  At  Paris  attached  to  the  Spanish  legation,  1747- 
1750.  Died  1754.  Pension.  State  of  things  favours  his 
literary  projects  His  Poetica,  2.  8vo.  1789,  (first  publish- 
ed in  folio  1734.) — The  Filosofia  antigua  poetica  of  Alonso 
Lopez  de  Pinciano,  1.  4to.  1596.  Tablas  poeticas  de 
Francisco  Cascales,  1.  8vo.  1616.  Nueva  Idea  de  la 
Tragedia  antigua  por  Giuseppe  Antonio  Gongales  de  Salas, 
I.  4to.  1633. — Luzan's  Poetica  more  successful  than  these. 
Its  plan  and  character. 

226.  BENITO  GERONIMO  FEYJOO,  b.  1676.  Life  by  Cap- 
many  prefixed  to  the  Teatro  critico,  1778.  Theological 
and  medical  studies.  His  efforts  to  enlighten  his  country- 
men in  physical  and  moral  science.  His  Teatro  Critico,  8. 
8vo.  1778-1779,  first  printed  1726-1739.  His  Cartas  eru- 
ditas  y  curiosas,  5  8vo.  1777,  (first  printed  J  742-1760.) 
Their  general  character.  Their  literary  value.  Feyjoo  is 
denounced  to  the  Inquisition.  (Llorente,  II.  446.)  His 
great  success.  Died  1764. 

,  227.  EUGENIO  GERARDO  LOBO — a  military  officer.  His 
Obras  poeticas,  1.  4to.  1738.  Deplorable  fall  of  Spanish 
poetry. 

$  228.  GENERAL  REMARKS  on  the  literary  character  of  the 
reign  of  Philip  V 


FERDINAND  VI.  1716-1759. 

^  229.  What  he  did  for  the  progress  of  knowledge.  Botan- 
ical garden.  Young  men  sent  to  travel.  Plan  of  a  nation- 
al history.  The  academies. 

§  230.  Luis  JOSE  VELAZQUEZ,  b.  1722.  Lives  chiefly  at 
court.  Imprisoned  17G6-1772.  Died  immediately  after 
his  release.  (Guarinos,  VI.  139.)  His  different  works, 
and  especially  his  Origines  de  la  Poesia  Castellana,  1.  4to 
1754.  Its  character. 

$231.  REGULAR  DRAMA  ATTEMPTED.  Cf.  ante,  §  36.  and 
Luzan's  Poetica,  II.  39-42.  Fame  of  the  French  stage. 
El  Sacrificio  de  EJlgenia  by  Canizares.  What  Luzan  did 
about  1742.  AGUSTIN  DE  MONTIANO  Y  LUYANDO.  His 
Virginia,  1.  12mo.  1750,  with  a  preface.  His  Athaulpho, 
1.  12mo.  1753.  Regular  Tragedies.  Their  character. 

CHARLES  III.  1759-1786. 

$  232.  His  spirited  reign  at  Naples.  His  ministers,  Aranda, 
Campomanes,  and  Florida  Blanca.  Expulsion  of  the  Jesuits 
from  Spain  1767.  Their  fall  1773.  His  control  over 
the  Inquisition.  The  last  person  burnt  was  a  woman  ac- 
cused of  witchcraft  1781.  (Llorente,  IV.  270.)  General 
character  of  his  reign. 

§  233.  Jose  FRANCISCO  DE  ISLA.  Known  from  1746.  His 
Fray  Gerundio,  1758 — 1770.  His  fan  iliar  Letters.  His 
continuation  of  Gil  Bias.  Died  1781  His  Historin  del  Fa- 
moso  Predicador  Fray  Gerundio  de  Campazas,  4.  12mo 
1813.  Its  plan.  Its  purpose.  Its  success.  Assailed  by 
the  Inquisition.  (Llorente,  II.  450.)  Never  effectually 
suppressed. 


81 

234.  FURTHER  EFFORTS  TO  INTRODUCE  A  REGULAR  DRA- 
MA. NICOLAS  FERNANDEZ  DE  MORATIN,  b.  1737.  d. 
1780.  His  Desengafio  al  Teatro  Espanol,  1.  12ino.,  an 
att.ck  on  the  old  drama.  His  Petimetra,  1762,  the  first 
Spanish  comedy  within  the  rules.  His  Lsucrecia,  a  tragedy, 
1763.  His  Hormesinda,  1770.  Other  works. — Plays  re- 
presented from  1769  at  the  royal  country  seats. —  Yriarte, 
§  236.  His  translations  from  Destouches  and  Voltaire. 
His  Senorito  mimado.  (Obras,  IV.)  His  Senorita  inal- 
criada.  (Obras,  VII.) — Cadahalso,  §  235.  His  Don  San- 
cho  Garcia,  a  tragedy,  1771.  (Obras,  III.) — Ignacio  L*o- 
pez  de  dyala.  His  Numancia  destruyda,  1775. —  Vicente 
Garcia  de  Huerta.  His  Raquel,  1778.  (Obras  II.) — Me- 
lendez  faldez,  <§  244.  His  Bodas  de  Camacho,  1783. 
(Obras,  11.) — Small  effect  of  all  these  efforts. 

235  Jose  CADAHALSO.  An  author  in  1771.  His  Erudi- 
tos  a  la  violeta.  His  early  poetry.  Ocios  de  mi  Juven- 
tud,  1773.  His  Cartas  Marruetas,  1775.  Rises  to  the 
rank  of  colonel  in  the  army.  Is  killed  young  at  the  seige 
of  Gibraltar,  1782.  Obras  de  D.  Jose  Cadahalso,  3.  12mo. 
1818. 

236.  THOMAS  DE  YRIARTE.  b.  1752.    d.  1803.     A  princi- 
pal officer  in  the  department  of  state.  (Guarinos,  VI.  190. 
Obras  de  D   Thomas    de  Yriarte,   8.  12mo.    1805.)     His 
poem  on  music  in  five  cantos,  1780.      His  Fabulas  litera- 
rias,  1782.  (Obras,  I.)      His  controversies,  dramas,   &c. 
Denounced  to  the  Inquisition.     Llorente,  II.  449. 

237.  CAMPOMANES — (Memorias   de  la  Acad    de  Hist.  V. 
1-22)    MAYANS    Y   SISCAR— (Guarinos,    IV.    14-50)    &c. 
Attempt  to  reform  education.  (Ib.  207)  &c.  &tc. 

11 


CHARLES  IV.  1788-1808. 

238.  Reign  of  Charles.     Power  of  Manuel  Godoy,  Prince 
of  the  Peace.     Influence  on  letters. 

239.  RAMON  DE   LA  CRUZ  Y  CANO.      Popular   writer  of 
short  dramas  and  farces.     Prints,  Teatro  o  Coleccion  de  los 
Saynetes  y   dernas  Obras   diamaticas  de  D.  Ramon  de  la 
Cruz  y  Cano,  10.  12mo.  1786-1791.    Their  variety,  spirit, 
and  national  character. 

240.  GASPAR  MELCHOR  DE  JOVELLANOS.    b.  1743.  Gua- 
rinos,  III.  131.     Holland's  Life  of  Lope  de  Vega,  II.  181, 
&c.     Destined  for  public  affairs.    Odes.    Elegies,    Trage- 
dy.    Translates  first  book  of  Paradise   Lost.     His   Delin- 
quente  Honrado,  1773,  the  first  Spanish  sentimental  come- 
dy.    Its  character  and  success.      His  academic  discourses. 
His  Informe  en  el  Expediente  de  ^ey  Agraria,  1  fol.  1795. 
His  Memoria'sobre  las  Diversiones  publicas,  (1796)  1.  8vo. 
1812.    His  Pany  Toros,   1796.    Suppressed.    Minister   of 
Grace  and  Justice.  Loses  his  place  in  eight  months  because 
he  attempts  reforms.  Intrigues  of  the  Inquisition  against  him. 
(Llorente,  II.   540.  IV.  122.)      His   disgraceful  exile  to 
Majorca,  1801.     His   sufferings.     His   return    in    1808  on 
the  breaking  out  of  the  revolution.    (Southey's  War  in  the 
Peninsula,   4to.  I.   175,   293.)      His    constitution    broken 
down.     President  of  the  Central  Junta  at  Seville.     Retires 
from  ill  health  1810.     His  work,  called   D.  Caspar  de  Jo- 
vellanos  a  sus  compatriotas,    1811.      Sufferings  from   the 
French.     Dies  Nov.  1811.     His  elevated  and  irreproach- 
able character. 

241.  REGULAR  DRAMAS  CONTINUED,  NICASIO  ALVAREZ  DE 
CIENFUEGOS — died  under  French  persecutions  1809.  Wrote 
five  tragedies.  His  Condessade  Castilla.  (Obras  poeticas  de 


83 

D.  Nicasio  Alvarez  de  Cienfuegos,  2. 12mol  1816.) — LEAN- 
DRO  FERNANDEZ  DE  MORATIN,  son  of  Nicholas,  ^  234.  b. 
1760.  Gains  a  poetical  prize  at  19.  (Guarinos,  IV.  130.) 
His  Comedia  nueva,  1792.  Sent  to  travel  and  examine 
foreign  theatres  at  the  expense  of  the  government.  Italy. 
France.  England.  His  translation  of  Hamlet,  1.  8vo. 
1798.  His  Baron,  1803.  His  Mogigata,  1801.  His  bi 
de  las  Ninas,  1805,  the  best  of  his  comedies.  His  tranla- 
tions  from  Moliere.  Goes  to  Paris  1814.  Returns  to 
Madrid  1821.  Character  of  his  comedies. 

242.  JOSEF  DE  IGLESIAS,  d.  1791,  jEt.  38.     Poesias  de  D. 
Josef  de   Iglesias,  2.   l2mo.  1798.      Eclogues,   odes,  &ic. 
Imitator  of  Quevedo. 

243.  MANUEL  Jose  DE  QUINTANA.      Officer  in  the  depart- 
ment of  state — secretary  of  the    Cortes   and   Regency  of 
1812 — thrown  into  prison  by  Ferdinand  VII.  1814 — releas- 
ed 1821.     His  Poesias,    1.    12mo.   1802.— His  Vidas  de 
Espanoles    celebres,    1.    12mo.   1807.      His  collection  of 
Spanish  poetry,  3.  12mo.  1807.     His  character. 

244.  JUAN  MELENDEZ  VALPCS.  (Guarinos,  IV.  53.     Llo- 
rente,    II.   455.)     Native   of  Estremadura.      Professor   at 
Salamanca.     Officer  of  Justice.     Joins  the  French  in  1808. 
Exiled  1814.     Died   at'Montpelier  1817.     Poesias  de  D. 
Juan  Meltndez  V aides,  3.  12mo.  1817,  (6rst  printed  1785- 
1797.)    Anacreontics,  ballads,  pastorals,  songs,  &tc.     Their 
great  beauty. 

245.  JUAN   DE   ESCOI^UIZ,   b.  1762.    (Biog.  des  Vivans, 
11.  53 i  ;  Southey's  War,  vol.  I.  passim.)     Educated  at  the 
court  of  Charles  III.     Enters  the   church.      Tutor  to  the 
Prince  of  the   Asturias,    Ferd.   VII. — Exiled   from    court. 
Called  in  at  the  affair  of  the  Escurial   1807.     Takes  part 


34 

in  the  revolutions  at  Aranjuez  and  Bayonne  1808.  Detain- 
ed in  France  1808-1814.  Ferdinand  disgraces  him  1815. 
Comes  to  Madrid  1821. — His  translations  of  Young  and 
Milton.  His  Mexico  conquistada,  3.  8vo.  1798,  an  epic 
in  twenty-six  cantos.  A  poem  on  the  same  subject,  bj 
Francisco  Ruiz  de  Leon,  called  Hernandia,  1.  4to.  1755, 
a  deplorable  failure.  Character  of  the  poem  of  Escoiquiz. 

246.  JUAN  BAUTISTA  Munoz,  d.   1799.     His  Historia  del 
nuevo    Mundo     1    8vo.    1793,   a   fragment.      Academical 
troubles  concerning  it.  (Memories  de  la  Acad.  I.  Ixv.  sqq.) 
Its  merits. 

247.  General  confusion  and  troubles  of  the  end  of  the  reign 
of  Charles  IV.     Escurial.     Aranjuez.     Bayonne. 


FERDINAND  VII.  1808. 

248.  King's  captivity   till    1814.      Changes   since.      The 
great  excitement  of  the   national  revolution   begun  in  1808 
has  turned  all  the  talent  of  the  country  into  political  affairs. 
Literature  almost  disappears  from  that  time. 

249.  CONDE  DE  NoRofiA — member  of  the  council  of  war. 
Minister  at   St.  Petersburg,     d.    1816.     His  Ornmiada,  2. 
12mo.  1816.     AD  epic,  in   blank  verse.     Its  claims  and 
character. 

250.  Effects  of  the  great  changes  and  convulsions  since 
1808,  on  the  literature  of  the  country. 

251.  General  remarks   on  the  characteristics  of  the  best 
portions  of  Spanish  literature. 


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